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.