Whimsy abounds in CTORA Theatre's James and the Giant Peach, to November 9
Roald Dahl’s story comes to life onstage with huge insect puppets designed by Amica Pasquale
James and the Giant Peach. Photo by Canna Zhou
CTORA Theatre presents Roald Dahl’s James and the Giant Peach from October 24 to November 9 on the Olympic Village Stage at the BMO Theatre Centre
IN THE ORCHARD of author Roald Dahl’s countryside home in Buckinghamshire, there was a cherry tree that caught his attention. He began to consider what might happen if one of the stonefruits it bore kept growing, and growing, and growing—and that thought planted the seed for his story James and the Giant Peach.
According to Penguin Books, Dahl went with a peach instead of a cherry because they’re simply “prettier, bigger, and squishier”. He must have made the right call, because more than six decades after its release, the story is as popular as ever. CTORA Theatre is staging it in musical form this fall; catch it on the Olympic Village Stage at the BMO Theatre Centre from October 24 to 29.
Young theatre artist Ryder MacInnes, who recently played a zany Ooma Loompa in Theatre Under the Stars’ Charlie and the Chocolate Factory, is starring as James. When the boy’s menacing aunts order him to chop down their old peach tree, they inadvertently send him on the adventure of a lifetime, as he finds a magic potion that creates one humongous peach. James finds himself at the centre of the stonefruit among a troupe of human-sized insects—a ladybug, spider, grasshopper, centipede, and earthworm—who must learn to work together when the peach falls off its tree and rolls into the ocean, eventually making its way to the top of the Empire State Building.
Amica Pasquale has designed larger-than-life insect puppets, from a creepy-crawly centipede to a majestic grasshopper with purple-satin eyes, to help the story jump off the page. Ensemble members Sophia Saugstad and Katrina Teitz will manoeuver them with the guidance of puppet coach Stephanie Elgersma. Director Chris Lam and musical director Peter Abando will be at the helm of the production, which features music by duo Pasek and Paul, book by Timothy Allen McDonald, and choreography by Nicole Rose Bond.
For folks who want to amp the whimsy up to the max, there will be a fun Halloween costume party before the show on October 31 at 7 pm. ![]()
Emily Lyth is a Vancouver-based writer and editor who graduated from Langara College’s Journalism program. Her decade of dance training and passion for all things food-related are the foundation of her love for telling arts, culture, and community stories.
Related Articles
The show, produced by Theatre Conspiracy in association with Pi Theatre, finds contemporary resonances in Eugène Ionesco’s 20th-century works
Wug, Kravga, and Moog deliver a take on Sophocles’ Greek tragedy that, in addition to copious amounts of crude humour, has its share of chillingly effective moments
Ensemble Theatre Company taps into the humid haze of a Tennessee Williams classic where love and self-deception mingle
Standout performances and design bring infectious energy to Disney’s tale of love and self-discovery
Bold update by Kate Besworth brings mythic figures closer to us while continuing to ask the ancient questions posed by Sophocles
Fierce company transforms characters by committing to the popular musical’s blend of disco, soul, and gospel
Presented by the fest and Boca del Lupo, the multifaceted one-woman show carries long-standing reflections on workout culture and the life-altering effects of a pandemic
Now streaming on Knowledge.ca, John Bolton–helmed movie stars Niall McNeil, Marcus Youssef, Veda Hille, Nathan Kay, and more, in a mix of artists with and without Down syndrome
With live music and innovative touches, a collective of established Vancouver stage artists brings eco-horror play about disappearing bees to life at the Vines Den
Part of Ensemble’s summer festival, Jiehae Park’s play references Macbeth as it takes on the power dynamics of U.S. college admissions
Great performances and impeccable set design and stage management ensure that the comedy about a hapless theatre company is a chaotic mess in all the right ways
In playwright Kate Besworth and director Ming Hudson’s adaptation, contemporary language highlights the continuing relevance of Sophocles’ 5th century BC tragedy
Bold and bloody new take on “the Scottish Play” speaks effectively to an era of intense societal fears, with postapocalyptic atmosphere to burn
The Vancouver performer straps on the platform shoes and readies her powerhouse voice for musical based on the movies she grew up watching
Homage to Eugène Ionesco is presented by Rumble Theatre and produced by Theatre Conspiracy in association with Pi Theatre
In a shamelessly fun update, the comedy’s colourful schemers, lovers, and busybodies are regulars at a Vancouver community centre during World Cup fever
WUG, KRAGVA, and MOOG return to the Shakespeare festival for a hysterical take on the titular Greek tale
The Arts Club director says the smash-hit U.K. show is one of the most technically demanding comedies ever written
At The Cultch’s York Theatre, wonderfully weird characterizations meet gravity-defying feats in a raucously unpretentious banger that has “hit” written all over it
Whether you’re looking for a quick drink and snack, conversation, reflection, or people-watching, these airy meeting places hit their marks
Playwright Kate Besworth and director Ming Hudson team up for a contemporary adaptation of the classical Sophocles tragedy
