From Y2K Fringe Hit to 2025’s Main Course: A Vancouver Story Reheated
Jaysuits! How are we doing?
Is anyone else in a full-blown November hibernation mode? The pumpkin-spiced laced sugar crash is real, and after the absolute chaos of my Halloween ; If you’re still recovering from the glorious chaos on Granville, that perfect, rain-free night ( the downpour that was forecasted to wash us all out just… didn’t) of street dancing and fireworks, you’re not alone.
Spooky season’s officially over, but it’s not quite time to mainline eggnog and it’s waay too early for Mariah Carey to be defrosting. (She’s thawed out the day after Halloween, as foretold in the prophecies…..It’s a mind game Jaysuits, people want you to shop, fight the urge.)
Right now, my social media feed is already starting to flash with the usual November suspects: the Christmas Market, Canyon Lights, and that Harry Potter thing taking over Stanley Park. It’s all big, bright, and… a lot.
The thought of another early Christmas market was putting me to sleep. As always, I was looking for something with a story. Something with some heart.
Then I saw it. A listing for a play with a title so bold, so ridiculously over-the-top:
“The Best Restaurant In The World. Ever.“
Seriously? In this city?
The sheer audacity. The city that’s basically the sushi capital of the world outside of Japan? The city where Gordon Ramsay just planted his flag with a massive new steakhouse out in Richmond? You’re going to call your play that? I was instantly hooked by the nerve of it all.
But then I saw who was behind it: The Curious Cats Theatre Collective. The same crew that gave us that brilliant, razor-sharp Fringe hit, A Man Walks Into a Bar, last year.
And just like that, my quiet, sensible November plans were 86’d. So, consider this your hot tip from the kitchen. Your reservation is waiting anytime between November 7th and the 16th, when the Curious Cats are doing a full takeover of the historic Jericho Arts Centre. They’re serving up a full menu of evening shows and weekend matinees.
It’s a dish 25 years in the making; a comeback story that feels like the perfect, soulful meal after a month of Halloween candy.
The Original Recipe: A Fringe Festival Classic from the Year 2000
To really get the flavour of this show Jaysuits, we need to hop in a time machine. Set the dial for Vancouver, late 1999. The world ; buzzing with a strange mix of excitement and low-grade panic about Y2K. Would the computers crash? Would the world end?
It was in this charged atmosphere that a Vancouver-based writer and actor named Rick Dobran first penned a one-act play as part of a series exploring that very theme.
That seed of an idea grew. Dobran expanded it into a full, two-act play and submitted it to the 2000 Vancouver Fringe Festival. The result was a production that quickly became a “Fringe favourite”. It captured a moment, telling the story of a chef named Joe, haunted by his past, as everything comes to a head on one momentous evening—originally, New Year’s Eve of 1999 and then later Valentine’s Day.
Now, here’s where the story gets a little hazy, in that wonderful way that local legends often do. It’s widely cited that the play’s script earned a Jesse Richardson Award that year. The Jessies, for those who don’t know, are basically the Oscars of Vancouver theatre. Winning one, especially for a new script at the Fringe, is a massive deal.
But here’s the thing: if you go digging through the publicly available online archives from that specific year, finding the official record is a bit of a treasure hunt. The lists from that period can be incomplete, and sometimes special juried prizes, like the Sydney Risk Prize for an emerging playwright, were awarded as part of the Jessies but not always listed with the main categories.
Honestly, that ambiguity only adds to the play’s mystique. It exists in the city’s collective memory as an award-winning piece of fearless, independent theatre—a testament to the raw, unfiltered creativity that the Fringe is all about. Whether the proof is in a dusty archive or in the stories passed between artists for two decades, what’s certain is that the play made a serious impact.
And that impact wasn’t just felt in Vancouver. The very next year, in 2001, the play travelled to the Winnipeg Fringe Festival. At the helm for that production was a director named Karen Hamm, who guided it to sold-out houses and critical acclaim. Remember that name, because that creative partnership, forged 24 years ago in the heart of a Manitoban summer, is the very same one that’s bringing this beautiful story back to us now. This isn’t just a revival; it’s a reunion.
What’s on the Menu?
Okay, beyond that killer title, what’s the actual dish?
(L-R) Alexander Forsyth, Christi Arellano, Jarod Campbell, and Kurt Evans
(L-R) – JORDON NAVRATIL, ERIN JEFFERY
Rick Dobran and Mersiha Musovic
(L-R) – KENNETH SETO TYNAN, LACHLAN HARRIS-FIESEL, FJ MENSAH
Photo credits : Andrew Fraser
First, for all my fellow Jaysuits who’ve been mainlining The Bear and yelling “Yes, chef!” at your roommates, listen up.
A recent piece in the Vancouver Sun made a great point: this is a “homemade take on what it’s like to work in a restaurant,” but; and this is a big but—it’s
“minus the food porn.”
Dobran, set the record straight:
“We don’t go near food the way The Bear does… You won’t learn how to bake a cake seeing it.”
So, if it’s not about recipes, what is it?
He says the play “uses the restaurant as a setting for extraordinary, heightened events — sort of magic realism.” . This is that chaotic “in the weeds” energy. Just look at the promo shots: you’ve got a stressed-out waiter on a giant 90s-era cell phone while a busboy just smirks with his broom. You’ve got another guy just… intensely holding an onion. It’s that kind of unhinged vibe you’d come across in Kitchen Nightmares, and it feels real.
The entire play unfolds over one single “fateful” night. At the center of this storm is Joe, the chef and owner. He’s played by Dobran himself. On paper, Joe should be on top of the world. He has the “best restaurant,” right? But in reality, he’s “troubled and haunted” by his past.
A-list success on the outside, haunted and overwhelmed on the inside? It’s that classic Vancouver pressure: having the A-list exterior while being a total mess of anxiety and past ghosts on the inside. It’s not a metaphor; it’s just Tuesday.
This one night is the pressure cooker. It’s about “love, loss, and an unforgettable dining experience” that pulls in the entire staff and clientele. As the Sun piece lays out, they’re “under siege by a man who threatens everything” and have one night to “save themselves, their restaurant and the world.”
I mean, come on. That’s a hell of a premise.
My order is in.
The Tattoo Artist Serving a Dish 25 Years in the Making
So, what happens to a story—and a storyteller, over 25 years?
Rick Dobran, the original playwright, is stepping back into the lead role of Joe, the troubled chef and owner of the titular restaurant. But he’s not the same artist he was at the turn of the millenium, and this is not the same play.
Dobran is no stranger to the Vancouver arts scene. A graduate of the prestigious Studio 58 theatre school and a Jessie-nominated actor himself, he has deep roots here. His previous works include his solo show, Aunt Sylvie, and Lisa Lisa, which was produced by the acclaimed Touchstone Theatre. He’s been a part of this community’s fabric for a long time.
After countless revisions and read-throughs with director Karen Hamm, Dobran’s new script, as he told arts and culture site Stir, has reached a point where it finally feels fully realized.
“The arcs are better for everyone. I think why they do what they do is better,” he explains. “There’s also other characters that I’ve been able to give a little bit more to”.
The characters now span a wider range of ages and life experiences, reflecting the new perspectives that time inevitably brings. It’s a story that has been simmering for two and a half decades, its flavours growing richer and more complex.
This idea of patient, meticulous craft is something Dobran knows a thing or two about, and not just from writing. Here’s a little digression for you, and it’s one of my favourite things about this story. When he isn’t on stage or in a writer’s room, he’s a professional tattoo artist at The Fall Tattooing, one of Vancouver’s best-known custom shops.
Think about that for a second.
One of his art forms is ephemeral, living and breathing on a stage for a few short weeks. The other is permanent, etched into skin for a lifetime. His tattoo work is described as a “classical style,” with a focus on black and grey, whip shading, and strong, clean line work.
There’s a direct line you can draw from the precision and care required to create a perfect, lasting design on skin to the work of refining a character’s motivation or sharpening a line of dialogue until it’s exactly right. Both require a steady hand, a clear vision, and an understanding that every single mark matters.
You might even recognize him. When he’s not writing plays, he’s been a working actor in this city for years, popping up in everything from The X-Files, Nobody and Once Upon a Time to Night at the Museum (yes, really, he was Neanderthal #3).
David Nykl and Rick Dobran in Arrow (2012)
Tom O’Brien and Rick Dobran in The X-Files (1993)
And now, returning to the play that started it all, he brings a sense of gratitude and wisdom that only comes with time. He put it perfectly to Stir: “There’s something nice about creating work and producing work at an age where I can really appreciate it”. That appreciation, that lived experience, is the secret ingredient that makes this revival feel so essential.
The Collective in the Kitchen: Assembling the Curious Cats
LET THEM COOK!
A great restaurant isn’t just about the head chef; it’s about the entire team working in harmony. And the team cooking this play is, frankly, a Vancouver indie theatre dream team. The Curious Cats Theatre Collective is a relatively new company, but the experience behind it is anything but.
As I mentioned in my Fringe coverage last year, the Cats are dedicated to producing theatre that is both “entertaining and thought-provoking”. Their mission is to create a collaborative space where artists can mentor each other and work on projects that might not otherwise get produced, with a special focus on giving opportunities to emerging talent. It’s a philosophy born from a deep love for the craft and a desire to build community.
The collective is led by a trio of artistic directors who are all powerhouses in their own right: Maryth Gilroy, Karen Hamm, and Sandra Medeiros.
Karen Hamm, as the director, is the keeper of the play’s flame. Her connection to the material dates back to that sold-out Winnipeg run in 2001 , and her career spans 35 years of acting, directing, and producing across the country. She even founded her own company, Hamm It Up Productions, in Winnipeg. Her long-standing belief in this script is the engine of this revival.
Maryth Gilroy and Sandra Medeiros round out the leadership team, bringing their own incredible wealth of experience. Gilroy has been directing and producing for over 30 years, has served as co-artistic director for multiple companies, and studied directing at Capilano University. Medeiros is a celebrated Portuguese-Canadian actor, writer, and producer, and is the artistic director of the Jessie-nominated Naked Goddess Productions and co-artistic director of Portuguese Buns Productions.
Seasoned professionals who have decided to pool their decades of knowledge and passion into a new, agile, and artist-driven venture. As Hamm told Stir, “The three of us are all kind of at the same point in our lives where we were like, ‘I really want to produce again, but let’s do it as a group… let’s do it as a team’”. This collaborative spirit feels like the future of independent theatre—veteran artists taking the reins to create the work they believe in, on their own terms.
And the talent extends to the entire ensemble cast. A special shout-out has to go to Kurt Evans, an actor who has appeared in every single production of this play since its debut in 2000. He is the living history of the show, a direct link back to its Y2K origins. He’s joined by a fantastic cast of Vancouver talent, including Christi Arellano, Jarod Campbell, Alexander Forsyth, Lachlan Harris-Fiesel, Erin Jeffery, FJ Mensah, Mersiha Musovic, Jordon Navratil, and Kenneth Seto Tynan. It’s a group that embodies the Curious Cats’ mission of bringing together artists of all backgrounds to create something special.
Alex has some serious credentials. We’re talking an MFA from London and performing at Shakespeare’s Globe. But he’s also right at home here, with credits on locally-filmed shows like DC’s Legends of Tomorrow and Charmed. He’s toured plays internationally with his own company. A total pro.
Christi has been on stage since she was 11, and it shows. This actor/singer has graced stages from the Arts Club (The Rocky Horror Show) all the way to Japan (twice!). She’s a local New West powerhouse, and her bio literally says she’s thrilled to bring Vida to life and “wear THAT dress every night.” I mean, how can you not be intrigued?
Friends, Erin is an icon. Inspired by Princess Leia, she’s done it all: Shakespeare, the iconic Tony and Tina’s Wedding, and dropping her drawers in Calendar Girls. She emcees, does stand-up, and “tap dances questionably.” By day, she’s the Director of Comms for the Massey and Anvil Theatres (yes, that Anvil). She’s not just in the arts; she is the arts scene.
Hailing from South Van, FJ is the real deal. She’s trained all over the city (Douglas, Railtown) and isn’t just an actor—she’s a writer with a background in psychology. You know she’s bringing a deep analysis to her role, getting right into the character’s head. She even turned a one-woman show into a stand-up set. We love to see it.
Another multi-talented force, Jarod is an actor, writer, and painter. A VFS grad, you might have caught him in Five Alarm or Calendar Girls. He’s not just in it for the performance; he’s an “avid theatregoer” who delves into all parts of stagecraft. We love an artist who loves the art.
Jordon is a survivor of the notorious Phillipe Gaulier clown school in France. That’s basically the special forces of theatre. You’ve seen his hilarious talents in The Play That Goes Wrong, and his bio ends with him “spiralling over the fact he is still doing this”. An absolute mood. We have no choice but to stan.
Karen is the keeper of this play’s flame. She’s a 35-year vet who directed the sold-out run of this exact show back at the Winnipeg Fringe in 2001. She’s one of the three masterminds behind the Curious Cats Theatre Collective and co-directed A Man Walks Into a Bar—which you know I loved. She’s the reason this gem wasn’t lost to time. A true theatre powerhouse.
A self-described “rare unicorn” (born and raised in Vancouver), Kenneth started as a figure skater before “realizing that theatre is the superior art form”. A man of taste. He’s done it all—writer, director, producer—from Antigone to Pageant: A Musical. His bio says he “plays the fiddle, spins on blades and makes things up in a posh accent.” Sold.
ou absolutely know Kurt. You’ve seen him in over 100 film/TV shows, most famously as Mayor Baracus in iZombie. He’s a VFS teacher, a voice actor, and—get this—he starred in the original 2000 production of this exact play. He’s the living history of the show, back for another course.
A recent grad from SFU’s School for Contemporary Arts, Lachlan is all about that “perform first and ask questions later” energy. He’s an actor, musician, and performance maker. When he’s not on stage, he’s the most Vancouver person ever: hiking, surfing, cycling, and camping. A true West Coast artist.
Get ready for Mersiha. She’s a triple-threat: actor, writer, and producer. When she’s not on stage in shows like Hurricane Diane or Mauritius, she’s co-creating award-winning comedy pilots like Roomhates. She develops her own original content, and now she’s bringing that powerhouse energy to the restaurant floor as Lily.
Your Table is Ready: How to Experience the Show
Okay, the deep-dive is done. Now I’m just that person telling you to go. But here’s the need-to-know. Yes, it’s at the Jericho Arts Centre, which for some of us is a bit of a trek (looking at you, my fellow New West and Surrey residents). But it’s not the other side of the world, and it’s worth the Compass Card tap.
When the Kitchen is Open: This is a seriously limited engagement. It runs from November 7th to 16th. That’s it. You can catch evening shows at 7:30 PM (Nov 7, 8, 12, 13, 14, 15) or weekend matinees at 2:00 PM (Nov 8, 9, 15, 16). You have options, but not a lot of time.
Where the Restaurant is Located: The Jericho Arts Centre, which is at 1675 Discovery Street. Here’s my pro-tip: this place is literally in Jericho Park, right by the beach. It’s one of the most beautiful, atmospheric venues in the city (it’s a converted WWII barracks! ). Give yourself extra time. Parking can be a bit of a hunt, and you’ll want to take a walk by the water at sunset before the show. Trust me on this.
The Price of Admission: This is indie theatre, not a Gordon Ramsay steak dinner. Tickets are in the $20 – $35 range, which is a steal. You’re not just paying for a seat; you’re supporting a piece of Vancouver’s own theatre history, brought to life by a collective of artists who are in it for the love of the craft. It’s a comeback story 25 years in the making.
Go grab a table. This special’s been simmering since Y2K.
—Jaysus
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