BREAKING: Team Behind Savio Volpe Opening New Restaurant in Cambie Village This Winter
Burdock and Co Is Celebrating a Decade in Business with a 10-Course Tasting Menu
The Frozen Pizza Chronicles Vol. 3: Big Grocery Gets in on the Game
Recipe: This Blackberry Bourbon Sour From Nightshade Is Made With Chickpea Water
The Author of the Greatest Wine Book of the Last Decade Is Coming to Town
Wine Collab of the Week: A Cool-Kid Fizz on Main Street
10 Black or African Films to Catch at the 2023 Vancouver International Film Festival
8 Indigenous-Owned Businesses to Support in Vancouver
5 Things to Do in Vancouver This Week (September 25- October 1)
Dark Skies in Utah: Chasing Cosmic Connection on the Road
Fall Wedges and Water in Kamloops
Glamping Utah: Adventure Has Never Felt So Good
Attention Designers: 5 Reasons to Enter the WL Design 25
On the Rise: Meet Vancouver Jewellery Designer Jamie Carlson
At Home With Photographer Evaan Kheraj and Fashion Stylist Luisa Rino
Everyone has an appetite for sugarplums-whatever they are. (They sound adorable! They dance in your head!) This winter, three varieties compete for your favour. Scored by the VSO, Alberta Ballet‘s take (Dec. 28 to 31, Queen Elizabeth Theatre) is opulence incarnate-not surprising, since Emmy-winning designer Zack Brown spent a million dollars on the performance’s lavish Imperial Russia-themed set and costumes. But backdrop is nothing without bustle, which is why the ballet recruited over 100 kids from local dance schools to fill out its cast.
Goh Ballet and the Vancouver Opera Orchestra perform with an international cast including Royal Danish Ballet’s Gudrun Bojesen and Ulrik Birkkjær, who make their city debuts in the principal roles of Sugar Plum Fairy and Cavalier Prince (Dec. 14 to 22, The Centre in Vancouver for Performing Arts).
Oh, you’ve attended both versions in previous years? Then put yourself in veteran James Gnam‘s pointe shoes: James (Dec. 4 to 7, Firehall Arts Centre) is the autobiography story of a dancer who has performed The Nutcracker over 300 times and is understandably feeling a little Black Swan about it. A palate cleanser after the more sugary chestnuts, James darkly confronts this touchstone work’s cultural relevance.