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Reviews

 

Snakeskins – A Fake Solo by Benoît Lachambre

Benoît Lachambre By Lucy M. May SNAKESKINS Festival TransAmériques 2014

It’s the morning after the closing of Snakeskins, a “fake solo” created by choreographer and dancer Benoît Lachambre, which played for two nights during Montréal’s Festival TransAmériques. Lachambre joined me at Place des Arts for a dialogue about the work and my impressions. When we meet, I take a moment to admire the intensity of his brilliant blue eyes, his long ash-coloured hair and uneven gait. In them, I recognize aspects of the same person who astonished me onstage with both physical endurance and humility. Lachambre is stooped but resilient; a shape-shifter.

 

Enter the Phoenix

tiger princess dance projects By Bridget Cauthery SoloDuet

In her letter from the artistic director, Ng explains the genesis of Metamorphosis of a Solitary female Phoenix and Magnetic Fields, the two pieces in SoloDuet. Metamorphosis first debuted as part of Christopher House’s 12 Solos commissioning project for Toronto Dance Theatre in 2007 while Magnetic Fields, on the other hand, is a new work for dancers Mairéad Filgate and Luke Garwood.

 

(Nevertheless …)

Fujiwara Dance Inventions By Ben Portis EUNOIA

The first choreographic adaptation of Christian Bök’s pièce de résistance, his conceptual prose poem Eunoia (2001), as conceived by Denise Fujiwara is tremendously delightful, witty and entertaining, yet nevertheless … somehow … a letdown.

 

Twenty Years Proud

dance Immersion’s Expressions Now By Marie France Forcier

This year marks the twentieth anniversary of dance Immersion, an organization recognized for its steady engagement in producing, promoting and showcasing dancers and dances of the African diaspora.

 

Blinded by the light

Porno Death Cult By Sarah Todd Porno Death Cult

Porno Death Cult is Tara Cheyenne Performance (TCP)’s fifth full-length work. In an age when research-oriented, formalist movement experimentation is de rigueur in contemporary dance, TCP’s commitment to cross-disciplinary, character-driven performance via narrative and persona is refreshing.

 

Cracking Nuts

By Philip Szporer The Nutcracker Maria Kefirova

Bulgarian-born, Montréal-based Maria Kefirova’s new solo, The Nutcracker, addresses the interdisciplinary cross-fertilization of sound and movement, and the body’s readiness and capacity to absorb and deflect outside interference.

 

TDT Tour de Force

By Ben Portis Eleven Accords

With Eleven Accords, Christopher House seeks a new potential for relational art, trusting in the latent artistic and social ecology of his disciplined company to imbue meaning.

 

Prairie Fire and Ice

The Prairie Dance Circuit in Winnipeg By Holly Harris Prairie Dance Circuit

For the past four years, the Prairie Dance Circuit (PDC) has boldly tackled the question of whether a particular aesthetic unique to Canada’s flatlands exists – or not.

 

The understory of the understory

By Bee Pallomina, Johanna Bundon Prairie Dance Circuit

A story of creation from two participants in this season’s Prairie Dance Circuit (PDC).

 

Double Trouble or When Things Fall Apart

By Mary Theresa Kelly Jacques & James James Gnam & Jacques Poulin-Denis

 

NGS (“Native Girl Syndrome”)

Lara Kramer Danse By Philip Szporer

In Lara Kramer’s NGS (“Native Girl Syndrome”) topics of racism, intoxication and substance abuse among native women in Canada are front and centre.

 

Newfoundland Rocks – Part Two

Festival of New Dance – Stoker, Barton, Fushell, Solo, Roque and more By George Stamos

More shows reviewed from The Festival of New Dance in St. John’s, Newfoundland.

 

Newfoundland Rocks – Part One

Festival of New Dance – Wright and Ivanochko By Molly Johnson

The Festival of New Dance ran from October 8 - 13 in St. John’s, Newfoundland. Here, Catherine Wright’s Cow One, Cow Two and Sasha Ivanochko’s Trio for Musician, Dancer and Double Bass reviewed.

 

Full Tilt

Ballet BC’s Mixed Program By Sarah Todd

Ballet BC in the black fiscally and artistically with the recent mixed program, Tilt.

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