Erik Pinkerton Photography
The result is a number of covered seating “islands.” Together, these islands accommodate an audience of up to 30. The horseshoe-shaped configuration allows for people to be seated alone, or in groups of two, three, or four. It looks a little like a cross between the seating for Greek theatre and a Game of Thrones-style duel.
Fidler says this circular layout has presented both a challenge and an opportunity to performers in that they now have to perform to all angles, rather than to the back of a room.
“It’s an exciting performance to watch,” says Fidler. “Almost like watching a film because (performers) are not concerned with shooting straight, so they’re moving naturally. They’re connecting in different ways than they would in a theatre.”
Since opening night (fittingly, a staged reading of Mr. Burns, a Post-Electric Play, about how the world is affected by a fictional pandemic), Fidler says the kinks have been worked out (“one night it rained hard and we figured out where all the leaks are”) and the Hall has roughly 11 different events scheduled to take place as part of the series.
There’s something on every Thursday to Saturday until the beginning of October. Programming includes music from Yukon’s Ryan McNally, as well as Claire Ness, comedy nights put on by the Guild and the Yukon Comedy Collective, a performance by Gwaandak Theatre, a variety show by Velvet Antler, and more.
All are listed online at yukontickets.com.
Tickets are available on a sliding scale to ensure everyone has access to shows at a time when some people are experiencing uncertainty or loss of employment.
Fidler says they don’t want money to be a concern to people when it comes to attending.
“Just come out and see stuff,” he says. “It’s a very different animal, having shows outside … anything is possible out there. Which is kind of exciting.”