Kim is thrilled to have Magic Hour live on in virtual reality after its in-person, immersive run last summer. The VR form rather than a typical filming of the work allows for the audience to experience being surrounded by the design world and story as in the live production; so it’s a perfect form for this piece. She thanks all the remarkable artists involved in both.

With Electric Company Kim has been the co-creator / director of a large body of work which has toured nationally and internationally that works with technology. The Full Light of Day featured live feed cameras complimenting stage action to provide an intimate close-up view to actors alongside wide shot staging, Tear The Curtain was a literal mix into a single narrative using half fully realized film and half live theatre, The Score incorporated media to animate our protagonist’s genetic fears and the production went on to be adapted into a film produced with Screen Siren Pictures and CBC. No Exit was created with 7 live cameras capturing the continuous action and presented it  deconstructed onto 3 screens like a graphic novel. This continuous feed shared the stage with a live actor. The Fall also included everything from film units, effects, scenic media and live camera work. Studies in Motion employed the photographic feel  of a projection based lighting and scenic world throughout. Kim’s freelance directing often uses media and design conceptually to deepen the meaning and feeling of the work as in Red (Canadian Stage, Citadel, Playhouse) and Angels in America (Arts Club).

Kim is the recipient of the prestigious Elinore & Lou Siminovitch Prize, 4 Jessie Richardson awards, Sterling Award and Ottawa Critics Award all for Direction. She is the recipient of an honorary doctorate from Thompson Rivers University and the Mayor’s Arts Award. She is a graduate of Studio 58 for Acting and loved directing Everybody there last fall with a brilliant group of actors and designers.  

Kendra Fanconi is the Artistic Director of The Only Animal, a 16-year-old company that is uniquely dedicated to theatre that springs from a deep engagement with place, and towards solutionary outcomes for this climate moment. She is known for her love of the impossible. Selected Credits for directing/writing: World premiere of Slime, written by Bryony Lavery, tinkers, based on the Pulitzer-Prize winning novel by Paul Harding, Nothing But Sky, a living comic book (Jessie for Significant Artistic Achievement), NiX, theatre of snow and ice, at the 2010 Cultural Olympiad and Enbridge Festival, Alberta Theatre Projects 2009, (Winner of Betty Mitchell Award and Vancouver’s Critic’s Choice Award for Innovation).  Current projects include 1000 Year Theatre and Museum of Rain. Kendra leads the Artist Brigade, bringing arts and artists to the front lines of the climate movement. Kendra lives on Shíshálh land on the far left coast of Canada, and is a farmer, a forager, and mother to two kids who are real characters.

Alessandro (AJ) currently makes his living as an actor, singer, composer and sound-designer. He has been working at these disciplines off and on for the last 30 years. He is frequently executed, maimed, disemboweled, dismembered, immolated, petrified, crucified and/or air-locked in your favourite locally-shot television programs and films. He often lends his voice to the animated programs that your kids, grand-kids, great-grand-kids and socially-awkward uncles currently binge. His musical compositions and sonic environments have augmented/detracted from live performances and films seen around the globe. People have occasionally given him trophies for his work. Some of them are transparent, and others more opaque. He makes his home in Vancouver with his partner and frequent collaborator, Meg Roe, and their three children.

Catalina Valenzuela is a Chilean born, Vancouver-based graphic designer. She graduated from the Graphic Design program from Vancouver Community College with the Spicers Canada Scholarship in 2020. She specializes in print & layout design, with a focus on visual arts and community-related projects.

Since graduating, Catalina has gained experience directing two creative projects; she launched Arcadia magazine, an arts editorial that features Chilean artists’ interviews and their work, as well as the photography publication, La Mujer en el Cosmos. Most recently, she designed the first Arts Guide for Stir magazine in fall 2021.

As of 2022, Catalina is part of the Marketing & Communications team at the Rick Hansen Foundation as well as the primary digital script designer for the Electric Company Theatre. In her spare time, she enjoys playing music, spending time with her friends, and finishing crosswords.

Technology Director of Boca Del Lupo

Carey is a board member of the Canadian Electroacoustic Community. Carey is a multidisciplinary artist and technologist whose work focuses on sonic arts, interactivity, installations, sound design and performance. He studied Electroacoustics at Concordia University and received a Masters at the Sonic Arts Research Centre in Belfast. He has collaborated with hundreds of artists in the creation of works mostly in Vancouver but also Montreal, Toronto, the USA, UK, Ireland & France.

Through his work with Boca del Lupo in the unique role as a full-time technology director for a theatre company he as worked with the core creative team to continually expand, challenge and grow what is possible and what are impactful uses of technology for expressing artistic vision and connection with each other.

An inventor, creator and entrepreneur, Jay’s imagination for the what, how and why of theatre defies conventional boundaries . During his tenure, the company has won the peer-assessed Alcan Performing Arts Award, and several Jesse Richardson Theatre Awards including seven nominations for the Critic’s Choice Award for Innovation and the Patrick O’Neill Award for best anthology with Plays2Perform@Home. Jay is a passionate set and video designer with Jessie Richardson Awards in both of those categories as well as a published playwright including a contribution to Boca del Lupo’s Red Phone project. His artistry is one of innovation and daring and his one man show, PHOTOG. featured interactive video, stunt rigging and verbatim text, touring to World Stage, Prismatic, Festival Trans Amerique and PuSh. Having served as President on the national board of the Professional Association of Canadian Theatres, Jay also has special interest in creative space making including as co-founder of celebrated colocation space PL1422, co-founder of the Granville Island Theatre District. Happiest when he is tinkering in his studio with collaborators from a diverse range of disciplines and backgrounds, the impact of Jay’s influence is quiet yet profound.