panych\'s the shoplifters looks at the five-fingered discount in an age of growing corporatism

: Feb.
March 9: Granville Island stage: from $29; 604-687-
1644 Morris Panych directed more than 90 plays and 30 written works.
Canadian playwright, born in Edmonton, educated in Vancouverand London)
He is now directing his 2015 drama, shop pickpocket, for the art club.
The alma mater of the production Star Patty Allen, professional certificate;
Agnes don is her partner.
Yu Leji is a security guard;
Dean Paul Gibson is his mentor.
We talked to 66. year-
Old paniqi, who lives in Toronto, hangs out in a store.
You have coached the store pickpockets before.
What\'s your difference this time?
Different actors make it different.
You have to respond to what the actors bring to the production and how they explain their characters.
Putting them together is a completely different experience.
This scene is the same as we did in Washington. C.
My partner Ken McDonald is working on the set. It (the stage)
Not so much configuration required.
The theater in Washington is very much like the stage on Granville Island.
Lighting Design (by Alan Brodie)
Different, Ace Martens will do some sound design for us.
So it will be a completely different production.
What did you find while casting? First.
I have been looking for very good actors, this is my bottom line, there are a lot of actors in Vancouver.
I have many choices.
It\'s hard to find an actor of a certain age. Patti (Allan)
She\'s in her 50 s and it\'s hard to find actors who can play comedy well in that age range.
And Dean.
The kind of comedy I wrote is not in the strict sense.
It started like this, but I wanted to set up emotional and themed surprises for the audience.
It\'s hard to get right for actors.
Two other young actors (Yu and Tong)
It\'s a wonderful young comedian.
How did the comedy in your play evolve?
If you look back on my show, go back to 7 stories (1989)
I chose something very dark.
The comedy comes from a dark and sober place, so it\'s tricky to operate in that area.
In addition, a good comedy requires real emotional commitment.
It requires a lot of energy, amazing energy, even more than ordinary games.
Why more energy is needed?
You have to apply a lot of emotional value to very stupid things.
They are not necessarily big problems.
This is tricky because it has to be real and credible.
That\'s why it\'s interesting and that\'s why you have to put so much energy on it, so it\'s believable.
It must also move at a certain speed.
If the audience had a chance to think about it, they would not have got on the bus.
It must work at a certain speed.
I call it \"key elevator \";
Like an airplane, it cannot take off unless it flies at a certain speed.
What did the theme and ideas in the store attract you?
I love the idea that people are caught stealing things, and a fierce emotional and political struggle around a small stolen item.
I think we live in a real corporate era, and more importantly, I want to play a role in this idea.
I \'ve also been listening to podcasts about shop shoplifting, and I \'ve found out why people shop shoplifting, especially older people.
In many, many cases, this is not for what they need, but because they want to do something interesting with their own lives, in addition to disappearing.
I used to steal things when I was a child, so I was no stranger to this topic.
About what the store theft is, what you took from whom, what you actually took, and how important it is, there are big political issues.
The play tries to solve some of these problems.