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Reviews

 

Pasties and Politics

The Toronto Burlesque Festival opens with a Red Carpet Reveal By Grace Smith

The Red Carpet Reveal opened the tenth annual Toronto Burlesque Festival. Filled with diversity and body positivity, it achieves what some other western styles of dance are still trying to catch up on.

 

A New Spin on an Old Classic

Punyah Krishna and other works by Parshwanath Upadhye By Aparita Bhandari

Rockstar bharatanatyam dancer Parshwanath Upadhye performed in an evening of contemporary bharatanatyam, presented by Sampradayada Dance Creations. Upadhye’s interpretation of a devotee’s adoration of Shiva, more specifically at the famous Chidambaram temple, was both athletic and graceful. His high kicks, leaps and knee turns did not come at the cost of nuances such as beautifully articulated mudras or clarity of movement in his adavus.

 

Carrying a Collective Burden

Michael Greyeyes and Yvette Nolan’s Bearing By Emma Doran

Bearing is a dance opera co-created by Yvette Nolan, Michael Greyeyes and a cast of dancers, actors, singers and musicians, that will become a vital piece of Canadian theatre. Working with the idea that every Canadian has been in some way impacted by the disgraceful legacy of residential schools, the work is meant to encourage a collective carrying of the burden of this ugly and still present history. Bearing is a high concept work that offers a new model for catharsis via theatrical embodiment.

 

When a Painting Breathes

Marie Chouinard’s The Garden of Earthly Delights By Sheenagh Pietrobruno

In 2016 Marie Chouinard was commissioned by the Jheronimus Bosch 500 Foundation to create a dance piece based on his paintings. United by fearless creativity and twisted beauty, Bosch’s images and the choreography of the Québecois/Canadian choreographer cut through facets of humanity. Her painting respires before our eyes.

 

The Shape-Shifting Serpent

Aanmitaagzi draws from an historic Anishinaabe story to narrate contemporary issues By Molly Johnson Serpent People Presented by Coleman, Lemieux & Compagnie

Serpent People, takes its inspiration from an historic Anishinaabe story, The Black Sturgeon of Nipissing. While this story is an Anishinaabe one, the performers are artists from a range of communities, nations, clans and ancestries. The ensemble is appealingly egalitarian, a cast of varying ages, identities and skill sets who together create an image of real community – people working together across differences. The mythology of the serpent as shape-shifter and realm-crosser that Serpent People draws on is apparent in these artists, who shift from scene to scene adapting to fulfill roles foreign and familiar.

 

Impressions from Montréal’s Festival TransAmériques - Part II

Three works from Mette Ingvartsen, Jocelyne Montpetit and Rachid Ouramdane By Mark Mann

Mini-reviews of works in Montréal’s Festival TranAmériques (FTA) - Ingvartsen’s 7 Pleasures, Montpetit’s Runaway Girl and Ouramdane’s Tordre. Part two of two of The Dance Current’s FTA 2017 coverage.

 

Impressions from Montréal's Festival TransAmériques - Part I

Three works from Frédérick Gravel, Manuel Roque and Eszter Salamon By Philip Szporer

Mini-reviews of works in Montréal’s Festival TranAmériques (FTA) - Gravel’s Some Hope for the Bastards, Roque’s bang bang and Salamon’s Monument 0: Haunted by the War (1913-2013). Part one of two of The Dance Current’s FTA 2017 coverage.

 

Dancers in Denim

Mile Zero Dance explores Edmonton’s historic Great Western Garment Company By Fawnda Mithrush Anything Goes: GWG Dance in 17 Parts

Part sound installation, part multidisciplinary performance, part massive pile of denim, Edmonton’s Mile Zero Dance presents a work inspired by the Great Western Garment Company, which, after many decades of storied success, finally shut its doors in 2004.

 

All About Giselle

Giselle by Coastal City Ballet By Brittany Duggan

First staged in 1841, Giselle is often thought of as a straightforward story ballet. Vancouver-based Coastal City Ballet, a repertory company founded in 2011, stuck closely to the very specific and illustrative music by French composer Adolphe Adam, and choreographer Irene Schneider does an impressive job of working with the score to create scenes that challenge the various levels of dance ability within the company.

 

Through the Microscope

Lesley Telford's Spooky Action at a Distance By Naomi Brand Spooky Action at a Distance

In Lesley Telford’s latest creation, Spooky Action at a Distance, she draws from subject matter that is well served by the complex spatial patterns and temporal relationships of a group of young, moving bodies. The piece is an interdisciplinary collaboration with poet Barbara Adler.

Molly McDermott in the work Kai Kairos, by Barbara Bourget and Jay Hirabayashi / Photo by Peter Eastwood
 

Diverse Expertise

Vancouver International Dance Festival By Andrea Rabinovitch Vancouver International Dance Festival 2017

Vancouver International Dance Festival (VIDF) aims to grow appreciation for culturally diverse dance. In this review - works by Margaret Grenier, Karen Jamieson and Molly McDermott, as well as international company Dairakudakan.

Milton Lim and Michelle Lui in Room 2048 by Hong Kong Exile / Photo by Remi Theriault
 

The Cathartic Future

Room 2048 by Hong Kong Exile By Charlotte Priest Hong Kong Exile Room 2048

Room 2048 by Vancouver’s Hong Kong Exile fuses dance and theatre to create a disorienting future world.

Cas Public in Hélène Blackburn's 9 / Photo by Damian Siqueiros
 

Sign and Sound

Cas Public presents 9 By Mark Mann 9

Cas Public traverses worlds of sound through sign in 9.

Sylvain Émard in his own work Le chant des sirènes / Photo by Sylvie-Ann Paré
 

An Enduring Presence

By Philip Szporer The Song of the Sirens Sylvain Émard

Sylvain Émard returns to the stage after a fifteen-year absence with a new work that highlights his continued mastery of a soft and vulnerable onstage presence.

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