Canopy Studios hosting month-long expressive art show focused on empathy
Allison Dawrant is showing a few of her pieces art the See Me. Hear Me. expressive art show hosted at Canopy Studios until June 13. (CTV News)
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CTV News
3 hours ago
- CTV News
Suspect arrested after car crashes into Cirque du Soleil venue in East Vancouver
A car crashed into the entrance to Pacific Coliseum in East Vancouver during a Cirque du Soleil performance on June 5, 2025. (Credit: Mike Roberts) A suspect was arrested after allegedly crashing a car into a venue in East Vancouver during a Cirque du Soleil performance Thursday evening. Few details have been confirmed, but the Vancouver Police Department said the incident does not appear to be an act of terrorism. 'The driver was apprehended under the Mental Health Act,' the VPD said in a brief social media statement. There have been no reports of injuries. The vehicle slammed into the entrance of Pacific Coliseum around 8 p.m., approximately one hour after a performance of Cirque du Soleil: Crystal had begun. Witness Mike Roberts was at the show and said he heard a loud bang that he initially assumed was part of the act. Roberts told CTV News he quickly got up out of his seat after seeing 'a small piece of the vehicle' had landed near his feet. 'Went behind the curtains and from there saw the car that was sitting inside, or partially inside the Coliseum doors,' he said. Security apprehended the driver – identified as a 30-year-old Vancouver resident – until police arrived on the scene. Roberts said he briefly saw officers hogtie the suspect. The witness told CTV News the incident was particularly alarming coming weeks after the Lapu-Lapu Day attack on April 26, which left 11 people dead and dozens of others injured. While many details of the crash remain unknown, 'Your mind is going to go there,' Roberts said. The Cirque du Soleil show ultimately finished following an extended intermission. With files from CTV News Vancouver's Kevin Charach
CTV News
3 hours ago
- CTV News
Oilers better prepared for Panthers' physical play in this year's final: Knoblauch
Florida Panthers' Sam Bennett (9) checks Edmonton Oilers' Viktor Arvidsson (33) during the first period in Game 1 of the NHL Stanley Cup final in Edmonton, Wednesday, June 4, 2025. Kris Knoblauch pushed back at the notion his team had been bullied in last year's Stanley Cup final. The Edmonton Oilers head coach also agreed the group is better suited to face the Florida Panthers some 11 1/2 months later. 'We're more physical team,' he said. 'We're bigger, we're stronger.' The Oilers showed that in Game 1 of the 2025 title series. They have no intention of backing down. Edmonton delivered punishing blows to Florida's defence in Wednesday's 4-3 overtime victory, including a number of big hits on Panthers blueliner Aaron Ekblad, who played more than 33 minutes to top all skaters. Knoblauch said his team 'accepted that challenge and the physicality' in last June's seven-game Cup loss to the Panthers. The reality, however, is the Oilers are more physically ready to face the same opponent. Edmonton is minus winger Zach Hyman (dislocated wrist), but has a trainers' room that's otherwise largely unoccupied. Bruising winger Evander Kane sat out the final five games of the 2024 final before missing the entire regular-season following abdominal and knee surgeries. The Oilers also added size and toughness up front with the acquisitions of Trent Frederic, Vasily Podkolzin and Kasperi Kapanen. The hits sat at 51-51 when Leon Draisaitl ended the opener on an OT power play, but Knoblauch said it's about more than just making life uncomfortable against an opponent that does it better than most. 'It's important that not only you're finishing your checks, you have that physical presence, but winning a lot of battles,' he said. 'The bigger you are, typically you're stronger, you're winning more pucks.' Kane said his group has shown in this post-season it's comfortable with any style of game that's required. The Panthers, known for bending the rules in their favour with hockey's dark arts alongside what can be characterized as an 'accidentally-on-purpose approach' in certain moments, weren't able to nudge the Oilers off their axis Wednesday. 'We didn't really get too much into the after-the-whistle stuff,' Kane said. 'We kept it between the whistles. We're a team that has proven we're going to play hard throughout the entire playoffs, and just because we're playing Florida, that's not going to change.' Oilers defenceman Darnell Nurse said a combination of health and roster construction means the Panthers are facing a different animal. 'We're a team built for a lot of the physical edge,' he said. 'Not afraid of that. (We're) playing a really, really good opponent that brings up the physicality each night, and we have to match that.' The gamesmanship also Florida brings — accented by forwards Matthew Tkachuk and Sam Bennett — is something Edmonton knows will be coming. 'There are going to be those moments where the edge kind of takes over,' Nurse said. 'Our group, it's the type and style of play that we're very comfortable play with. 'And obviously they are too.' Rivalry renewed Kane and Tkachuk battled it out in the 2022 Western Conference final when the latter was still a member of the Calgary Flames. Kane's injury issues last year meant the matchup that usually includes plenty of on-ice banter didn't really feature in Florida's Cup win. That looks set to change after the pair went at it almost every time they were in the same vicinity in Game 1. Kane was asked what it's like to play against Tkachuk. 'Like another player,' he said. 'Just likes to talk a little bit more.' Taking it in Oilers defenceman Jake Walman is enjoying his first true playoff experience after getting acquired from the San Jose Sharks ahead of the NHL trade deadline. 'It lived up to the hype,' he said. 'I wouldn't want to be doing it with any other group of guys.' The 29-year-old from Toronto played more than 23 minutes Wednesday, blocked a game-high four shots, and directed 12 pucks on goal. 'Every game is going to be a challenge,' Walman said. 'I watched a lot last year when these (teams) were playing. I think we're playing against a better Florida team than they did last year.' This report by The Canadian Press was first published June 5, 2025. Joshua Clipperton, The Canadian Press
CBC
4 hours ago
- CBC
Two longtime collaborators on why Guillaume Côté might be the best of Canadian ballet
After 26 years dancing with the National Ballet of Canada, Guillaume Côté will take his final bow tonight. The Quebec-born ballet dancer and choreographer has been lauded over his long career for his unique blend of technical perfection and artistry, and how his charismatic presence shines through even on a stage full of incredibly talented dancers. From portraying Romeo in Romeo and Juliet to Prince Charming in Cinderella and Prince Siegfried in Swan Lake, he has made some of the most iconic roles feel fresh. Today on Commotion, host Elamin Abdelmahmoud talks with two of his longtime collaborators, dancer Greta Hodgkinson and choreographer Anisa Tejpar, about his legacy and why he just might be the greatest of all time in Canadian ballet. We've included some highlights below, edited for length and clarity. For the full discussion, listen and follow Commotion with Elamin Abdelmahmoud on your favourite podcast player. WATCH | Today's episode on YouTube: Elamin: Greta, you were 11 years old when you moved to Canada to attend the National Ballet school. That's the same age that Guillaume moved here from Lac-Saint-Jean. You both grew up to become principal dancers with the National Ballet, so you logged a lot of hours together. Tell me, what's he like to dance with? What's the thing that sets him apart? Greta: I would say he's an extremely generous partner. His partnering skills are amazing. But he's also got so much energy. He gives so much onstage, and he gives so much to his partners. It's really wonderful. And you could sort of feed off each other. There's a lot of trust there, obviously, dancing for so many years, but yeah. He's very, very generous. Elamin: What I really enjoyed watching there is the way that both of you are nodding at the same moments. We were talking about this just before we went live, because Anisa finished a sentence with just hand gestures and Greta was like, "Yeah, totally understand what that means." For those of us who have not danced, let alone danced with Guillaume, when you say "fantastic partnering skills," what does that mean to you, Greta? Greta: Well, he understands where the ballerina's weight needs to be. He's strong in lifting. That sort of innate ability to partner is hard to teach. I mean, you can teach the technique, but the feel, if you will, of where the dancer needs to be off balance, on balance — he's very talented in that way. Elamin: Let's talk about the other part of his career for a moment, Anisa, because he's been a choreographer for a while. And he did not start choreography as a transitional step out of dance. He started at the peak of his career, more than a decade ago. When you think about Guillaume as a choreographer, what's the thing that he's trying to do with choreography? Anisa: That's a great question because I think when you've been an interpreter like he has for so many years — he's done the canon of choreography, you know, the Swan Lake s, the Giselle s, the Sleeping Beauty s that have lasted way longer than our lifetimes — he's done them all. Every major choreographer has worked with him around the world. When you are the vessel for someone else's ideas, when you are the interpreter of someone else's concepts, vibes, a weird brain pattern — at some point you think to yourself, what if it was my ideas? What if it was coming from me? What if I was the source of what we were making, and then I had these wonderful artists in front of me interpreting me? Now, the way I put it I think maybe sounds egotistical, but it's not because ultimately the more you interpret, the better you get at creating. And with Guillaume, because he has been able to achieve such milestones in his career as a performer, it felt so logical for those of us who knew him. It was not a surprise when he started creating work. His mind is fast-moving, always inspired; this man doesn't stop…. And it only felt natural for him to, like, put pen to paper, to explode onto other people, and to show what he has. It's vulnerable. It's courageous. It's hard to make work. But I think because of the type of person that he is, the experience that he's had, the wealth of knowledge he has in the medium, he's the ideal candidate to make.
