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Noreen nominated for literary award for UWT speech on Human architecture

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Official NoreenBREAKING NEWS: Noreen has been nominated for a Chitter Radio Literary Award.

In an announcement this morning, CRLA director Guadalupe Tucán confirmed Noreen’s nomination in the speech category for her address at a University of West Terrier forum this past Autumn.

The Mammalian Daily advice columnist and adjunct professor of Human Studies served as chair of the two-day October event, which discussed the effects of Human architecture on other Animals. Other participants included faculty members in the UWT Schools of Architecture, Medicine, and Economics and Social Science, as well as community architects and professionals working in the fields of physical and mental health.

Noreen’s speech, which was entitled, “Doors, Screens, Walls, Halls: The Ins and Outs of Human Architecture,” was exceptionally well-received at the event, according to university officials and forum participants.

This is Noreen’s first CRLA nomination.

The Chitter Radio Literary Awards will be held on June 15, 2017.

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Director Zebra peddles compassion and hope in WINK: PIFF Feature Film Review

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WINK Movie Poster 1WINK
♥♥♥♥♥♥

Directed by G.D. Zebra | 65 minutes | Premiere screening October 1 at the Park Cinema

It sounds cliché, but it was true: there wasn’t a dry eye in the theatre on the night of October 1.

By the time the credits rolled at the premiere of G.D. Zebra’s amazing new film, WINK, it seemed as though all Park Animals had found it in their hearts to embrace each other for the rest of time.

Of course, we knew it wouldn’t last. And it didn’t. But for one brief shining moment—all right, several, as the film was screened again on October 5—The Park seemed as Jor had meant it to be: open, free of prejudice, and dedicated to providing a peaceful, safe, and prosperous life to all its citizens.

Produced by Kevin Kodkod (of Black Cats Can’t Jump fame), and narrated in parts by Willem Leopard, WINK takes us on the personal journey of a group of striped and spotted Animals who, after suffering a lifetime of prejudice, opt to have their visible differences removed.

One might expect Zebra to have made his mark on the film through his personal perspective, but what makes WINK so powerful is the fact that he steps back and lets the participants tell their own stories. And, in large part, it is the timeline itself that allows us to feel the full effect of those stories.

As we follow the group for a period of three years—before, during, and after their stripe and spot removal procedures—the participants cease to appear to us as a homogeneous group. Rather, we see them as individuals who have experienced similar but distinct reactions to their visible otherness. And in discussing those reactions, they open a window through which we see their suffering and hopes more clearly.

As they introduce us to their families, their friends, and their way of life, their “otherness” seems to disappear. By the time they’ve booked their procedures, we find ourselves wondering why they’ve done it. Unfortunately, that wonder doesn’t last very long.

Indeed, we learn from the film’s title that these Animals have no way of escaping their past experiences which inform their lives forever. The title comes from a statement made by participant Aadhya Leopard, who when asked how it felt to emerge as a solid-coloured Animal, said, “It’s like a wink. It’s like I’m saying I’m just like you, but we both know I’m not.”

Participant Maximilian Appaloosa went even further. “What I discovered is that there is no such thing as an invisible minority. What your ancestors have suffered and the narrative you were raised on determines who you are and how you interact with others. And other Animals can sniff that out even if you look the same as they do. I discovered that all Animals have some kind of radar. It’s not just Bats,” he said.

The film, which lasts just over an hour, includes interviews with popular Park musician and anti-stripe-removalist ZEAL, anti-sortitionist and self-described “naturalist,” director Douglas Cheetah, and SCENTIENT Beings composer and father of Reekabilly music Faramund Stinktier, who announced his transition to being a Zebra last year.

But the film isn’t about the famous, or even about the striped and spotted Animals whose stories it tells. It is really about the rest of us, whose duty it is to confront our own otherness in order for all otherness to disappear.

WINK
The Park Cinema
October 17-31
Showtimes: 11:00; 1:00; 3:00; 5:00; 9:00

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Memes of Production seize the Jubilee—and the day

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Memes of Production

Spellbinding: Memes of Production play their hit song, “Carpe Diem” at Anixi Agrarian Jubilee

Can it be only a week ago that the Memes of Production took over the Anixi Agrarian Jubilee and made it their own?

How many of us thought the annual Spring event would wither and die without Eggie and the Pigs as the opening act, and the stars of the day— The Park’s farmers— nowhere to be seen?

Yet, in stepped this group of musicians whose recordings, all told, number four. Yes, four, all of which the group, itself, recorded. Under most circumstances, these Animals would never be invited to such an important event.

But they stepped in, where other musicians refused to tread. And, for good reason, it must be said. Still, the Memes went to great pains to clarify their position: they were there simply as musicians, having been asked by the Jubilee’s chief organizer Miriam Wapiti, to “save the day.”

But the Memes did much more than that. As their signature song says, they seized the day. By interspersing covers of some of The Park’s best—and least political— songs with riffs on their own, including “Sign of the Thymes: An Herbal Tick,” the group managed to keep attendees enthralled and the Jubilee, well, jubilant.

Kudos to the Memes, whose success and ability did not go unnoticed, either by Park citizens or by its record companies. Rumour has it that Hoofer Records, who signed The Beasts of Burden well over a decade ago, has offered them their first recording contract.

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TMD Exclusive: Millicent Hayberry and Gianfranco Colocolo in conversation

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MillicentHayberry

Millicent Hayberry opens tonight in Gianfranco Colocolo’s Godwit at The Burrow Theatre

The Burrow Theatre is uncharacteristically bright this afternoon, as it will be every day and night that Millicent Hayberry is on stage here, playing an unwitting—and unwilling—detective in the highly-anticipated series of mysteries written by Gianfranco Colocolo.

The first play in the series, Godwit, opens tonight at 8:00 pm.

We caught up with both Hayberry and the author during rehearsals at The Park’s Burrow Theatre.

TMD: Thank you for doing this. We know it’s a busy time for you.

MH: We’re delighted. We’re just taking a bit of a break anyway.

GC: Well, Millicent is taking a break. I’m pacing.

TMD: That’s funny. Are you nervous about the gala opening tonight?

GC: Not so much nervous as…well, nervous.

MH: You have nothing to be nervous about!

TMD: Do you have anything to be nervous about?

GC: I don’t, really. I just don’t take anything for granted. It’s been a long haul and I can’t wait to see the audience’s reaction to my work.

TMD: This is your first play…well, set of plays, really. You did have your bestselling novel, Murder at the Fishbowl, made into a movie. But what was different about this process?

GC: Nothing but everything. Night and day. I’ve never written anything that was meant to be performed. Up until now, everything I’ve done was meant to be read. It’s a much different perspective for a writer, to be thinking constantly of another person interpreting your work.

TMD: Did you have anyone in mind while you were writing?

GC: I didn’t and I see now that that would have made it much easier…if I had. If I were to write another set of these plays, I think there’s no doubt they’d be written with Millicent in mind, even if she declined.

MH: I can’t imagine declining.

GC: Even so. Millicent is such a brilliant actress that she’s made the part her own. Even when I read the play to myself now, I hear every word in her voice. It’s quite remarkable.

MH: That is humbling, Gianfranco.

TMD: What is it about the mystery genre that attracts you? I want to ask both of you, but Gianfranco first.

GC: Well, as I told Yannis Tavros on his show a few days ago, I’ve found that you can tell the truth, the honest truth, in the mystery genre and you don’t get the kind of backlash from it that you do elsewhere.

TMD: Do you know why that is? Do you have a theory?

GC: I think there’s a long history of it, but I don’t really know why. I don’t know why some ideas are accepted in one form, but not in another. You’d think that would apply to all fiction, but I’ve found that it doesn’t. You can throw off a line that would be stinging in another genre, but you get nods of approval for it in mystery.

TMD: So you can get away with a lot in the genre, then?

GC: Oh, I don’t think you’re getting away with anything! I think you’d better be right if you’re going to do it. But if you are, I think your audience will allow you to, is what I’m saying.

TMD: What do you think, Millicent?

MH: I agree with Gianfranco. Of course, this isn’t the first time I’ve heard him say it, so I may just be getting won over. But I do think there’s something to that. The truth is the least accepted thing anywhere. We gloss over it, we deny it, on a constant basis. I think there are perhaps two places where the truth wins out: here in mystery and in comedy.

TMD: You are most famous for your rôle in the autobiographical one-Chipmunk play, Mixed Nuts. Wouldn’t you say that autobiography is another area of truth-telling?

MH: You would think so, wouldn’t you? But you wouldn’t believe how much backlash writers get for their autobiographical material. There is a lot of arguing about the truth that goes on. Of course, we all have a different truth, so that’s probably the reason.

TMD: Was there a lot of backlash about Mixed Nuts?

MH: By the time I got involved with it, there wasn’t. But Imogen [Aardeekhoorn] experienced a great deal of it. Even I was surprised at that.

TMD: Millicent, I opened this interview by saying that The Burrow Theatre seemed uncharacteristically bright this afternoon. Am I correct in saying that?

MH: You are, indeed. I brought the very talented Constantine Lampris with me for that purpose. He did the lighting for Mixed Nuts at the [Park] Repertory Theatre. Constantine knows me so well. He knows I don’t see very well in the dark. He lights the stage so that I don’t fall or trip, but it doesn’t get in the way of the play or the audience. I don’t think I could perform live without him.

TMD: I just have one more question. What are you hoping for with this production? What would you consider a win? Gianfranco?

GC: Well, I suppose a win for me would be for the critics to say it was a well-written set of plays. But once it’s been lifted off the page and put on stage, I think a win is really for the cast. A play isn’t much without the cast. At least these aren’t. They’re meant to be dynamic, not static. So, I guess, a win in my view would be the audience’s appreciation of Millicent’s work, as well as that of the other talented actors here.

TMD: Millicent?

MH: I have to throw that right back at Gianfranco and say that a win for me would be appreciation of his words. But beyond that, if the audience comes away with a feeling of satisfaction, that they’ve been entertained and enjoyed themselves and if they’d like to do it again soon, I think that’s the biggest win we could have.

TMD: Thank you both for your time this afternoon. Break a tail tonight!

MH: My pleasure.

GC: Mine, as well.

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Searching for the Spitman: Noon Nuttiness Review

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Park Interspecial Film Festival
Searching for the Spitman: A Journey Through Foam, Froth, and Fun
♥♥♥♥♥♥

Directed by Ernesto Santiago Camello | 23 minutes | Final screening October 5 at the Park Cinema

We’re all familiar with our friend Stan the Spitman’s signature phrase, “Spitballs from Heaven!” Yet how much do we know about the Spitman, himself?[pullquote]I tell my clients it’s an old family recipe, but it’s not. I made it up on the fly and it worked…because the fly stuck to the wall.—Estanislao Gonzalo de Llama, aka Stan the Spitman[/pullquote]

Not a lot, as it turns out. But writer and director Ernesto Santiago Camello has set out to change all that in this alarmingly candid short film about one of The Park’s funniest citizens engaged in one of the world’s oldest professions: spitmaking.

Estanislao “Stan” Gonzalo de Llama is a second generation SpitMeister, a master of the art of spitmaking.

“It’s an honourable profession,” he says with a wry smile, “that makes products used for dishonourable purposes.”

That wasn’t always so, as Camello demonstrates in his short look back at the history of spitmaking. But, these days, Stan estimates that about ninety per cent of his products go toward humiliating other Animals.

“It’s a fact of life in the profession,” he says. “But it doesn’t keep me up at night.”

Camello follows Stan through his day, from rising long before dawn to set a pot on the fire, to the arduous task of mixing, boiling, and stirring the ingredients.

“I tell my clients it’s an old family recipe, but it’s not. I made it up on the fly and it worked…because the fly stuck to the wall,” he jokes.

The film is full of lines like that—jokes that wouldn’t even be funny if they came out of another Animal’s mouth. But Stan gets away with it, largely because he is an honourable Animal. Last year, for instance, when Milton Struts, then head of the Park Finance Office, found himself covered in spitballs at the PIFF Awards ceremony, Stan secretly sent him a gift certificate for a full “do” at The Pluming Room.

“I don’t even know for sure that it was my spit they were using, but I know how it would feel and I didn’t think he deserved that. I’m not sure any Animal does,” he says in one of his more thoughtful moments in the film.

In another of those moments, Stan lets slip that if he hadn’t been pressured into joining the family business, he probably would have become a comedian or even a musician. And just so you don’t dwell on the poignancy of that admission, he quickly offers up another:

“No matter what, I’d have made my way back to spit[making]. It’s in my DNA,” he laughs.

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PIFF preview: Herman Stoat: Mon Chemin Compliqué

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Park Interspecial Film FestivalAll PIFF documentaries are good. Some, of course, are better than others. Then, there are those that are spectacular.

And, that adjective is more than appropriate for the much-anticipated Herman Stoat: Mon Chemin Compliqué.

Conceived and produced by Pussyfoot Productions, this film about the life and work of the renowned dancer, choreographer, and founder and artistic director of the eponymous dance company has been in the making for more than four years. Yet, it received its official title only last year, after Stoat and his company’s assistant choreographer Gustav Hermelin created the dance, Le Chemin Compliqué, for the 2014 Celebration of the Winter Solstice.

“That was how we knew we were done,” Stoat said in a PRANCE magazine interview last month. “Somehow, with that dance and that title, we’d come full circle.”

Stoat knows a lot about circles, having danced professionally for years before founding the Herman Stoat Dance Company. And while he’s achieved a level of artistic success that was previously unknown in The Park, that success, which includes being named Choreographer of the Decade by PRANCE Magazine, has come at a cost.

“You might say that I survived success,” Stoat jokes in an early scene in the film. “But you might also say that I didn’t.”

Even Stoat fans who watched the choreographer’s reality series three years ago on Vertebrate Vision TV will be surprised at the physical, mental, and emotional pain this film uncovers and how complicated a road Stoat has travelled.

A Park refugee, both Stoat’s parents died at the hands of Humans.

“They were in their prime but, unfortunately, so were their coats,” he says matter-of-factly.

Left to his own devices, the young Stoat found his way to The Park, where he was taken in by a family and raised, as he says, “with love and care.” But there were problems in the household, jealousies among the family’s natural offspring, and expectations he could not meet.

“Early on, I discovered my natural talent for dancing and it saved me. I could go off on my own, explore my ideas, and set my moves to music,” he says.

It was during that time that he discovered the effect his moves had on others, as well.

“It was almost hypnotic, the effect. I noticed crowds gathering and they were mesmerized by my dancing. Suddenly, I found I couldn’t stop and they didn’t want me to, either.”

Stoat danced himself into Park history, but there came a time when he did have to stop for a while, after the anguish of his early years caught up with him.

“I’d packed it all away and suddenly, after I won a few awards, it all came tumbling out. I needed some time alone and even contemplated retirement,” he says.

Fortunately for Park dance lovers, Stoat finally returned to the stage refreshed and ready to take on new challenges, including teaching, working with artists in other genres, and calling for more diversity of species in dance. And, he reveals in the film, there is even more to come.

“There are days when I wake up and I think, ‘I’ve only just begun,’ ” he says with joy.

Herman Stoat: Mon Chemin Compliqué will screen at the Park Cinema on Friday, October 2 at 2:00 p.m. and on Sunday, October 4 at 4:00 p.m.

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Two rival Park chefs engage in war of words over award-winning artist’s work

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Two fuming chefs

Tribute gone wrong: “A Change of Hugh” by award-winning artist Hugh Biri has sparked a war of words between rival Park chefs

It was meant to be a tribute, but something went terribly wrong.

When award-winning artist Hugh Danlami Biri decided he wanted to add his voice to the cause of equality for striped and spotted Park Animals, he thought it best to use his considerable artistic talents to do so.

Enter his latest masterpiece, or as some are calling it, his “miss-terpiece” entitled, “A Change of Hugh.”

Biri’s tribute—a 76 cm x 51 cm painting in custom watercolours—was meant to highlight the professional similarities of two great (and striped) Park chefs, Tab Tricolore and Mikko Tiikeri, by differentiating them by coat colour.

“They have hair of similar colour and I was trying to pose the question, ‘What if we changed their colour? Would they be any less great in their kitchens? Would their restaurants be any less spectacular?’ Obviously, not,” Biri said in an interview on TMDTV.

“I thought we could then apply that logic to stripes and spots. Would they cook any better if their coats were of a solid colour? You see, when you say it out loud, it’s ridiculous,” he said.

Unfortunately, Biri’s logic was lost on the subjects of the painting, both of whom were quite disturbed by the change of hue.

“I wish they’d come to me right away and said, ‘We don’t like it.’ But they didn’t. They went after each other and, for that, I am very sorry,” said Biri.

Indeed, each chef blamed the other for what both agreed was a travesty.

First, Tab Tricolore accused Mikko Tiikeri of tinkering with the painting and darkening Tricolore’s hair, making him look ridiculous and effectively blackening his reputation. In response, Tiikeri claimed he had video evidence that Tricolore had removed the original painting from the Park Museum of Contemporary Art (PMoCA), where it is currently hanging, and replaced it with the darker one.

Biri says that would be next to impossible.

“It was difficult enough for me to do and, with all due respect, Tab Tricolore does not have the training to do that kind of work. I spent two months developing the colours and it took even longer to apply them,” he said.

Biri, who won the first Maple Tree Television (MTTV) Merging Artist Award* in 2012, has worked for years with a number of well-known Park artists developing watercolours. He says that success in the field takes time, patience, know-how, “and a little bit of luck.”

In the meantime, the two chefs, who had previously been on good terms, are not speaking to each other, nor to Biri.

“It’s a sad, sad situation and I don’t know what to do about it,” Biri says.

*Merging artists are artists who work in only one field of the arts and who collaborate with one or more other artists who work in another, distinct field.

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Barkettes’ songs to be translated into different Animal languages

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halcyondaysThisbe and the Barkettes have embarked on a new project: the translation of some of their biggest hits into a number of different Animal languages.[pullquote]We sincerely hope that other musicians and artists will follow suit and allow us all to enjoy the wonderful creativity of Park Animals. — Thisbe and the Barkettes[/pullquote]

In a statement released yesterday by their manager Hilde Blaft, the group explained their reasons for making the historic decision:

“After much reflection and in the service of interspecial harmony, Thisbe and the Barkettes have decided to release some of our most beloved songs in a number of different Animal languages.

Recent events in The Park have highlighted tensions that have grown among the different species that live in The Park. We feel that, as much as possible, we all need to bridge those gaps that have developed. To this end, we have engaged the services of several renowned translators to enable members of other species to enjoy our music. We sincerely hope that other musicians and artists will follow suit and allow us all to enjoy the wonderful creativity of Park Animals.”

The group did not give any specific date for the release of the music, nor the names of the songs that will be translated. But the gossip site headsNtales reported last week that the group has talked to a number of Feline and Avian translators and had signed a contract with RODOlphin Translation, the firm that works closely with the University of West Terrier.

headsNtales also reported that the Barkettes intended to donate a percentage of the proceeds from the sales of the translated works to a charity. The gossip site did not name the charity.

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Park Museum poaches PMoCA curator

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Park Museum

Dorika Pumi has been appointed head curator of the Park Museum’s art gallery

One of the most prolific and adventurous curators the Park Museum of Contemporary Art (PMoCA) has ever employed has been poached by the Park Museum.

In a controversial move that some say bodes well for its future, the soon-to-be-opened Park Museum confirmed in a press release yesterday that Dorika Pumi will assume the position of head curator when the Park Museum opens in January.

In an announcement on the Museum’s web site, the Board of Governors called Pumi’s appointment, ”one of many milestones along the road to the realization” of the Museum. The press release also included praise for her work.

“We are honoured that she has accepted our offer and we look forward to nurturing a long and fruitful relationship with her,” it concluded.

Pumi, who is best known for her 2013 art installation How Much Was That Doggie in the Window? was also responsible for the Museum’s K-NONical Kismet exhibit and the controversial but well-received series of sketches entitled, Better To Be Lost Than Loved.

Read the Park Museum’s press release here.

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The Dog Paddle: Noon Nuttiness opener cracks us up: review

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2dogscanoe2

Manwel Kelb, left, and Eamon Madra star in The Dog Paddle as rival swimmers forced to compete together as paddlers after a mixup occurs in the qualifier for the “big race.”


The Dog Paddle
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Starring Manwel Kelb, Eamon Madra and Vicente Perro. Directed by Sofia Koira. First screening: October 2; repeat screening October 4 at the Park Cinema. 72 minutes.

The Dog Paddle, which stars two of The Park’s best known Canine comedic actors (Kelb and Madra) as well as newcomer Vicente Perro, hinges on a familiar Park issue: two rival Canine swimmers are vying for the opportunity to compete in the first-ever Dog paddle event of the Interspecial Summer Games. After the qualifying final is cancelled due to a vicious storm, the athletes are told that both their names have been entered in the “big race.” What Kelb and Madra’s characters realize too late is that the big race they’ve been entered in is a different kind of Dog paddle race: one that involves two Dogs, two paddles, and a canoe.

The reaction of the two characters to the news that they must cooperate with each other rather than compete (and do so in a canoe) nets us some priceless physical comedy — the sort that both actors are famous for.

But it’s what happens next that elevates The Dog Paddle to comedic art: the film slows down just long enough to allow us to see both Dogs in a different light. In this case, it’s the twilight before the big race, when they finally decide they’d better talk strategy if they’re going to have any chance at all of winning.

In the hands of another director, this scene might have turned the film into a tragicomedy. But in the hands of the skilled and savvy Sofia Koira, who is quite a hoot herself, the poignancy becomes so off-balance that it rights the canoe and steers the rest of the film to its conclusion, which I won’t spoil for you here.

Who would have thought that a send-up of the Canine Athletic Association’s bid to reinstate the Dog paddle as a competitive swimming stroke could be so funny? Certainly not this critic, but the surprise was well worth the humility with which I will be forced to live for some time.

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