4 Grad works with Leo DiCaprio Moloney takes lessons from Langara’s program to the real world By LENA ALSAYEGH tudio 58 grad Robert Mo- loney is currently in Cal- gary filming Leonardo DiCaprio’s latest project, The Revenant, his latest roleina growing list of credits. Moloney wasn’t planning on attending theatre school, but af- ter meeting with an agent nearly 20 years ago, who suggested he receive formal training, he re- ceived a Studio 58 brochure from a friend and enrolled immedi- ately. Moloney’s agent, Tyman Stewart, has been with him ever since and has helped him to grow his resume. “He’s probably one of the most dedicated and constantly work- ing actors I have,” said Stewart, “Robert was one of two Canadi- ans that got a job [on The Reve- nant]... so it’s pretty exciting.” Moloney is thrilled to be a part of the film, which along with Leonardo DiCaprio, stars Tom Hardy and is directed by Alejan- dro Gonzalez Ifarritu, whose works include Babel, 21 Grams, and Biutiful. The film’s cinematographer, Emmanuel Lubezki, just won an Oscar for the film Gravity. “It’s like a dream come true,” said Moloney. “Tt’s remarkable to see how Alejandro works, he has the most attuned and focused bull meter I have ever seen in my life. If there is one hint of falsity in wardrobe, in a prop, in a set piece, in a performance, in a look in the eye, he sees it. He wants truth, he wants realism in every detail.” Moloney admits it hasn’t al- ways been a smooth ride, how- ever, and the nature of acting is inconsistent. But he says the program taught him to trust his gut and really find the strength of char- acter to not give up on his dream. “The instructors really want you to do well, are compassion- ate, and tough when they need to be,” Moloney said. When asked what advice he would give to current students, he said: “I think one of the most important things is to be rigor- ously honest with yourself... for the work as an actor, and your development as a human being. “Call yourself on your own bull... but at the same time, have compassion.” SUBMITTED photo Moloney has appeared in over 20 TV shows and almost 30 movies. By SHANNON LYNCH irectors David Mackay and Wendy Gorling turn a vision into reality by blending non- verbal theatre with stunning ef- fects and music, making Kosmic Mambo a stellar show from start to finish. Set during the end of the Ameri- can/Russian space race, the Studio 58 production is a space-age adap- tation of Samuel Taylor Coleridge's poem The Rime of the Ancient Mariner. The play holds the audience captive as it tells the fictitious tale of Russia's failed attempt to send six cosmonauts to Mars in order to outshine America's successful moon landing. down, the audience appears to feel The show's opening delights the eyes and ears with marching cos- monauts set against a realistic space agency backdrop. The triumphant Americans watch Apollo 11's landing with Neil Armstrong's famous words heard in the background as they cheekily rub their success in Rus- sia's face. Studio 58's entire crew works its magic to bring Kosmic Mambo to life full force. As Markian Tarasiuk's charac- ter The Commander tells his tale, the audience is suddenly launched into outer space. From the rocket blasting off, to the freezing cold when it breaks it all. The music of rock's golden age peppers the show with bursts of high-energy interludes and im- pressive choreography. The costumes were striking, no- tably Solar Spirit’s beautiful black dress and mask, played by Chris- tine Reinfort. Many scenes contrast playful humour with darkness. The audience cracks up several times at the play’s sly wit. Tarasiuk's facial expressions and physicality are exceptional. In one powerful scene, puppe- teer Tom Krushkowski gives life to a puppy on board the rocket. Tarasiuk's reactions to the dog DAVID COOPER photo Markian Tarasiuk led the cast of Kosmic Mambo as The Commander in the no-dialogue space play based on an 18th century poem. Kosmic Mambo launch delivers laughs Actors communicate without words as the audience goes on a space race journey to the moon and back are palpable. The wordlessness of the actors as they pour across the stage like molasses is eerily compelling. One can almost imagine they're floating in space. One scene sees the ensemble in total darkness holding lights as they snake in circles, singing hauntingly. Although absence of dialogue does make it a tad confusing at times, the cast and crew of make it a gem. The production's big dance fin- ish with Queen's Don't Stop Me Now is sure to make you want to dance right along with the team. Kosmic Mambo runs until Oct. 19. More info at The Voice Online. Blue Box back better than before After touring Canada for over two years, Carmen Aguirre is bringing her intimate play back home By CHARLOTTE DREWETT returns to Vancouver with a rich- er, funnier and more provocative showing of her play Blue Box. Aguirre’s one-woman show was commissioned by Toronto theatre com- pany Nightswimming and premiered in 2012. After travelling across Canada for two-and- half-years, it’s back in Vancouver on the Arts Club Theatre Company’s Revue Stage from Oct. 9 to Nov. 1. Aguirre, playwright and actress, studied in the Studio 58 theatre arts program at Langara College in the ear- ly 1990s. “Carmen is fantastic to work with,” said Brian Quirt, artistic director with Nightswimming and director of Blue Box. “She’s obviously highly skilled and highly trained and a very experienced performer.” Blue Box is a woman’s intimate ac- count of two stories that take place 10 years apart. Aguirre interweaves the two, bringing 1980s Chile and 1990s Los Angeles to the stage. Blue Box depicts Aguirre’s quest for unconditional love. “It lives in two realms, the realm of revolutionary love and the realm of ro- mantic love,” and struggles with the question, “where does self-love fit in?” Aguirre said. The show has evolved since its 2012 premiere in Vancouver. The text itself hasn’t changed but Aguirre’s delivery of it has become tighter and more im- pactful, Quirt said. “Because Carmen’s had the experi- ence with so many audiences over the last two- and-a-half-years, it gives her tremendous control over... how she manages the experience and the story- telling with different audience mem- bers,” he said. The Revue Stage is going to be a great match to the intimate nature of the show, Quirt believes. “Blue Box is meant to be a show that you experience right up close and per- sonal with Carmen.” Aguirre said she was unsure of the future of Blue Box due to the “ephem- eral” nature of live theatre. “That’s the thing about live the- atre... the only thing left of it is what everybody’s memory of it is,” Aguirre said. Quirt said Nightswimming is work- ing on another project that will also include Aguirre. [crn graduate, Carmen Aguirre, ANDREW ALEXANDER photo Aguirre’s play interweaves two stories about unconditional love.