Jasmine Road wins Best Canadian Feature Film at 34th Edmonton International Film Festival.
https://www.ragingriverfilms.com/post/jasmine-road-wins-best-canadian-feature-film-at-34th-edmonton-international-film-festival
https://www.ragingriverfilms.com/post/jasmine-road-wins-best-canadian-feature-film-at-34th-edmonton-international-film-festival
Migrant crisis meets old west in new Canadian drama
Kevin Fleming Video Journalist, CTV Calgary, August 30, 2019
calgary.ctvnews.ca/mobile/migrant-crisis-meets-old-west-in-new-canadian-drama-1.4572636?fbclid=IwAR2x30pcDrOpiKZUrI6fLjQ3vSDhLaiEWtq438d_YwcRKwYEFvayker-_eU
(Jasmine Road, feature film. Expected release Fall 2020. Costume & Production Design)
Kevin Fleming Video Journalist, CTV Calgary, August 30, 2019
calgary.ctvnews.ca/mobile/migrant-crisis-meets-old-west-in-new-canadian-drama-1.4572636?fbclid=IwAR2x30pcDrOpiKZUrI6fLjQ3vSDhLaiEWtq438d_YwcRKwYEFvayker-_eU
(Jasmine Road, feature film. Expected release Fall 2020. Costume & Production Design)
Talented cast and crew bring passion and whimsy to Freewill productions of Hamlet and Comedy of Errors
Liane Faulder, Edmonton Journal, June 22, 2018
edmontonjournal.com/entertainment/theatre/talented-cast-and-crew-bring-passion-and-whimsy-to-freewill-productions-of-hamlet-and-comedy-of-errors?utm_campaign=Echobox&utm_medium=Social&utm_source=Facebook#Echobox=1529619137
...The costumes for both shows are by Megan Koshka. Her work in Comedy of Errors channels Dr. Seuss; technicolor wigs match gaudy lips, creating a cartoonish complement to the classic tale of two sets of twins, separated at birth. (In Hamlet, Koshka clothes the prince in a sweater strapped with belts, an able metaphor for Hamlet, who struggles to break the bonds of his mind.)...
Liane Faulder, Edmonton Journal, June 22, 2018
edmontonjournal.com/entertainment/theatre/talented-cast-and-crew-bring-passion-and-whimsy-to-freewill-productions-of-hamlet-and-comedy-of-errors?utm_campaign=Echobox&utm_medium=Social&utm_source=Facebook#Echobox=1529619137
...The costumes for both shows are by Megan Koshka. Her work in Comedy of Errors channels Dr. Seuss; technicolor wigs match gaudy lips, creating a cartoonish complement to the classic tale of two sets of twins, separated at birth. (In Hamlet, Koshka clothes the prince in a sweater strapped with belts, an able metaphor for Hamlet, who struggles to break the bonds of his mind.)...
How Peter Pan got his groove: Peter and the Starcatcher at the Citadel
Liz Nicholls, 12th Night, April 7, 2017
https://12thnight.ca/2017/04/07/how-peter-pan-got-his-groove-peter-and-the-starcatcher-at-the-citadel/
...It’s part-music hall and part-fantasy epic. The Act II opener, a chorus line of fish-turned mermaids, with fantastical bosom support from costume designer Megan Koshka, is a bit of both. And so is Koshka’s set, framed as an old-fashioned Victorian theatre, slightly askew, as if it’s lost its moorings and might end up slipping off a pier into the sea...
Liz Nicholls, 12th Night, April 7, 2017
https://12thnight.ca/2017/04/07/how-peter-pan-got-his-groove-peter-and-the-starcatcher-at-the-citadel/
...It’s part-music hall and part-fantasy epic. The Act II opener, a chorus line of fish-turned mermaids, with fantastical bosom support from costume designer Megan Koshka, is a bit of both. And so is Koshka’s set, framed as an old-fashioned Victorian theatre, slightly askew, as if it’s lost its moorings and might end up slipping off a pier into the sea...
Vue Weekly Interview
Vue Weekly, Edmonton January 10, 2017
http://us7.campaign-archive1.com/?u=a554045c8d2f1e90477862e88&id=b4823cd193&e=57c55215ef
...Costume designer Megan Koshka helped contribute to this innovative visual production through the use of unusual materials and layering techniques...
...To achieve that sense of buoyancy and transparency Koshka used a lot of layering and dimension in the clothing as well as surprising and unusual materials such as vinyl, PVC pipe, aquatic tubing, fishnetting – and a lot of hot glue! Shaping these materials into what people recognize as clothing was a fun challenge for the costume designer, who has worked with Catalyst on past productions...
ALEXA TONN / EDMONTON JOURNAL
Love's Labour's not lost in a spirited Freewill evening
LIZ NICHOLLS
Edmonton Journal June 24, 2016
edmontonjournal.com/entertainment/festivals/loves-labours-not-lost-in-a-spirited-freewill-evening
... Director Jim Guedo takes his playful al fresco version of Love’s Labour’s Lost back to the ’60s. And in addition to the kooky attractions of the look (amusingly rendered by costume designer Megan Koshka), the contradictions of that era — lusty individualism enforced by conformist manifestos — mirror something of the paradoxes of this early Shakespeare comedy ...
Fun with alienation: Pyretic and Good Women Dance premiere The Other
LIZ NICHOLLS
Edmonton Journal January 1, 2016
http://edmontonjournal.com/entertainment/theatre/fun-with-alienation-pyretic-and-good-women-dance-premiere-the-other
...The five dancers who just won’t leave Sharon alone in her aloneness are there to conjure the adventures, the crisis moments, the bi-continental re-locations of our dispossessed heroine. The airy, draped white cave designed by Megan Koshka hints at a wispy memory of a padded cell, lit to be luminous in ice-cream colours...
LIZ NICHOLLS
Edmonton Journal January 1, 2016
http://edmontonjournal.com/entertainment/theatre/fun-with-alienation-pyretic-and-good-women-dance-premiere-the-other
...The five dancers who just won’t leave Sharon alone in her aloneness are there to conjure the adventures, the crisis moments, the bi-continental re-locations of our dispossessed heroine. The airy, draped white cave designed by Megan Koshka hints at a wispy memory of a padded cell, lit to be luminous in ice-cream colours...
RYAN JACKSON / EDMONTON JOURNAL
New faces in Edmonton theatre: The up-and-comers
LIZ NICHOLLS
Edmonton Journal January 1, 2016
You’re a theatre designer, and your gig is creating a single set for two alternating plays with almost nothing in common except their author. Ah yes, and they run outdoors, with an hour turnaround, and have to be transported to Hawrelak Park in a truck.
Megan Koshka figured this out for last summer’s adventurous Freewill Shakespeare Festival, which paired the genial rom-com As You Like It — whose characters repair to the Forest of Arden, a natural for al fresco treatment — with Coriolanus, a harsh urban play with a harsh hero, set in Rome and enemy war camps. Koshka’s design solution, which had to be “a delicate balance” she says, was inspired both by “the fascist architecture during Mussolini’s time” and nature, the lush look of real trees.
From the moment she graduated in theatre design from the U of A in 2014, Koshka’s widely divergent creative propositions have been scooped up by artistic directors across town, at theatres of every scale and budget. Her touring set for Alberta Opera’s The Steadfast Tin Soldier was Victorian painted drops, with a multitude of exuberant costumes for the two actors who surround the title figure and play all the other characters.
If you caught Catalyst’s fiery rock musical Vigilante last season at the Citadel — kick yourself if you didn’t — you saw Sterling Award-winning costumes with a witty goth look that made them both perfectly 19th century and unerringly contemporary. Koshka was assistant designer. She designed the dreariest motel room ever for the year’s most ambitious indie venture, Punctuate! ‘s six-play Suburban Motel project, then spent the summer in Toronto designing costumes for O Canada What A Feeling! That’s range.
It was in costumes that Koshka, a Sherwood Park theatre and visual artist kid with a drama teacher dad, made her theatrical start. “I literally fell into it on a lunch break,” she laughs. Costumes, set and lighting came together at the U of A. Her upcoming work presents a wide swath from the “rustic homestead” of Morris Panych’s Gordon at Theatre Network to Send in the Girls’ Bust Em Up Burlesque, part of the Citadel’s Made In Edmonton cabaret series.
For the latter series, Koshka is also designing Catch The Keys Productions’ The Runcible Riddle, “a travelling mind-bending multi-sensory adventure” in which the audience is on the move. And Free Will’s 2016 summer gets outfitted in Koshka costumes, too.
So, no plans to leave town any time soon. “There are so many indie productions here I can be sustained, and artistically fulfilled.”
LIZ NICHOLLS
Edmonton Journal January 1, 2016
You’re a theatre designer, and your gig is creating a single set for two alternating plays with almost nothing in common except their author. Ah yes, and they run outdoors, with an hour turnaround, and have to be transported to Hawrelak Park in a truck.
Megan Koshka figured this out for last summer’s adventurous Freewill Shakespeare Festival, which paired the genial rom-com As You Like It — whose characters repair to the Forest of Arden, a natural for al fresco treatment — with Coriolanus, a harsh urban play with a harsh hero, set in Rome and enemy war camps. Koshka’s design solution, which had to be “a delicate balance” she says, was inspired both by “the fascist architecture during Mussolini’s time” and nature, the lush look of real trees.
From the moment she graduated in theatre design from the U of A in 2014, Koshka’s widely divergent creative propositions have been scooped up by artistic directors across town, at theatres of every scale and budget. Her touring set for Alberta Opera’s The Steadfast Tin Soldier was Victorian painted drops, with a multitude of exuberant costumes for the two actors who surround the title figure and play all the other characters.
If you caught Catalyst’s fiery rock musical Vigilante last season at the Citadel — kick yourself if you didn’t — you saw Sterling Award-winning costumes with a witty goth look that made them both perfectly 19th century and unerringly contemporary. Koshka was assistant designer. She designed the dreariest motel room ever for the year’s most ambitious indie venture, Punctuate! ‘s six-play Suburban Motel project, then spent the summer in Toronto designing costumes for O Canada What A Feeling! That’s range.
It was in costumes that Koshka, a Sherwood Park theatre and visual artist kid with a drama teacher dad, made her theatrical start. “I literally fell into it on a lunch break,” she laughs. Costumes, set and lighting came together at the U of A. Her upcoming work presents a wide swath from the “rustic homestead” of Morris Panych’s Gordon at Theatre Network to Send in the Girls’ Bust Em Up Burlesque, part of the Citadel’s Made In Edmonton cabaret series.
For the latter series, Koshka is also designing Catch The Keys Productions’ The Runcible Riddle, “a travelling mind-bending multi-sensory adventure” in which the audience is on the move. And Free Will’s 2016 summer gets outfitted in Koshka costumes, too.
So, no plans to leave town any time soon. “There are so many indie productions here I can be sustained, and artistically fulfilled.”