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Women in View Festival by Dianne Mackay theatre Corrine Koslo and the Joy of Six £ 4~J"' y° d° u n t experiment you the 1997 production of The Seagull. Koslo is participating in the Women in View Festival for the first time this year with an experimental work titled essarily on my performance as much as it is on their [the writers'] pieces." The idea of participating in the creation o f a new work is important to Koslo because it allows her to redefine her role as an actress. Mainstream actors, she notes, "forget that we are not just interpretive artists. We are also creating art." Although she has done some work in film and television (her screen credits include roles in Hardcore Logo and, on television, parts in Northwood the X-Files), and Koslo is most at home on don't grow." North -Vancouver actress Corrine K o s l o is philosophical as she contemplates her new. highly experimental show at this year's Women in V i e w Festival. K o s l o is a highly acclaimed actress, familiar to Vancouver audiences from her frequent appearances at the Vancouver Playhouse. She has performed in such diverse productions as The Cherry Orchard, Much Ado About Nothing, and The Heidi Chronicles. Her portrayal of Sarah in Love and Anger garnered her a Jessie Richardson Award. Two of her favourite performances were in one woman plays: Shirley Valentine and The Search for Signs of Intelligent Life in the Universe. Both plays were produced under the auspices of the Alberta Theatre Productions. In addition to her wide range of work at the Vancouver Playhouse, Koslo has become a regular performer at the Shaw Festival. Her debut performance at the festival came in 1986 when she appeared as Susan Potter in the play Holiday. Koslo's work at the Shaw Festival has continued over the years, culminating her portrayal of Masha in the stage, fueling her performances with the energy of a live audiences. "I was trained as a stage actor." she says emphatically, "and that really was what I wanted to do -- and what I still want to do." As for her performance at the Women in View Festival. Koslo continues to hedge her bets. "It's very exciting, but The Joy of Six that has been written specifically for her by a dynamic writing team that includes John M u r r e l l . Sally Clark, and Peter Anderson. The finished work promises to be, in Koslo's own words, "a real soup mix of six pieces, two songs that I'm going to read at the Women in V i e w Festival just to get a sense of what we've got...the focal point is not necThe W o m e n in V i e w Festival runs from phone February 257-1650 20 to March for more I. Please information j= p j£ L9 finally this w i l l either be a very good beginning or a lovely end to an idea." Vancouver audiences are in for a treat if The Joy of Six is the beginning of a wonderful new staae in Koslo's North Shore Artist Designs Festival Logo N orth Vancouver artist Julie Brown-Fox is the creative force behind this year's logo for the Women in View Festival. The emblem, a delicate illustration of a dancer in mid-pirouette, was inspired by Brown-Fox's work for Bravo magazine. Vancouver! A graduate of the graphic design program at the E m i l y Carr Institute of Art and Design. Brown-Fox spent six years as a graphic designer, the lasl four of which were spent in the design department of Karyo Communications. Although her work as a designer was highly rewarding. Brown-Fox recently decided to put her energies into illustration. She created her own company, brown fox illustration, last year and has already worked with an impressive list o f clients, including The Knowledge Network and the District of North Vancouver. Brown-Fox has her own theory about why her drawings have proven to be so popular: "Some pretty dynamic stuff can be achieved with technology today," she explains, "but hand-rendered illustrations add an unique, personal touch." With the recent births of her two children. Brown-Fox has begun to turn her attention to the possibilities of illustrating c h i l dren's honks. She is determined to do the kind of work that is meaningful to her. a: