ECT Obstructed

Electric Company: OBSTRUCTED

April 26 & 27, 2014  8 PM at PL1422

Tickets are now sold out for both nights.  If tickets come available, we’ll be informing the public via Facebook and Twitter. If you have any questions, please contact info[at]electriccompanytheatre.com.

Created and performed by David Hudgins, Kevin Kerr and Jonathon Young

This spring, Electric Company Theatre is going to subject itself to such extremes of artistic obstruction that it’ll take weeks before we resume a recognizable size and shape – artistically speaking. You’ll get to witness it on April 26 + 27, 2014.

It’s a high stakes performance game we’re playing with our collaborators at the Progress Lab: they force us into a creative corner, tell us what to do, tie our hands behind our back and we come out … swinging? Can’t say.

I. The piece you create must be devoid of nostalgia and historical content and must be set in the present day.

II. You may not use electricity (including electricity derived from battery power) other than the electricity going to the work lights, which may only have two cues associated with them: lights up and lights down.

III. You must present something threatening to the middle class using primary source, verbatim text.

We’ll guarantee nothing except artistic risk, and as a teaser we’ll let you know that we’ve stacked our own self-imposed list of obstructions onto theirs, including:

IV. All live rats must run free.

Please complete Electric Company’s OBSTRUCTIONS Survey



Following three sold-out iterations of the Hive party series, Vancouver’s Progress Lab network of indie theatre-makers comes together to test the theory that creativity feeds on limits.

Inspired in part by The Five Obstructions by Jørgen Leth and Lars Von Trier, the core artists of each participating company will submit, a few at a time and under a cold spotlight, to a list of obstructions delivered by a shadowy emcee. The companies will then be commanded to create their next production around those limitations. The obstructions for each company have been developed in secret by their peers – a custom-designed set of obstacles that will prompt each artist to adapt to a new approach to making theatre. Their individual tendencies toward form, place, style, theme, design, period, story are exposed and obstructed, spilling the artist’s bag of tricks all over the stage and out of reach.

Listen to Maegan Thomas’ piece about PL and Obstructions on CiTR.