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A Process of Fulfillment

Benchmarq presents Darshan

Review
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Make It Rain

Eroca Nicols is the truthteller

Review
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Yes Manifesto (2018)

Linnea Swan interprets modern dance history, makes us laugh, makes us cry and makes us laugh-cry

Review
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Sensational but Stuck

Breakaway Entertainment’s Anatomy of a Dancer at the Toronto Fringe Festival

Review
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The Why and How

In Threes and The Fall at the Toronto Fringe Festival

Review
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Curating Time

Plastic orchid factory’s i miss doing nothing

Review
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Fortunate Misgivings

Quantum Fur, curated by Geranium

Review
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No Holds Barred

Gearshifting Performance Works’ Phase Wash

Review
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Bodily Reflections

Sasha Ivanochko’s new works

Review
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Songs for a Nervous System

Jean-Sébastien Lourdais’ Bleu

Review
Tereka Tyler-Davis, Hollywood Jade, Raoul Wilke, Miha Matevzic

A Night at the Juke Joint

The latest from Holla Jazz

Review
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Shadows Against a Sunset

pataSola dance’s Rift

Review
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Blurry Reverie, Retinal Rivalry

Dana Gingras’s anOther, in collaboration with Sonya Stefan and Group A

Review
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“Story-Being”

Nova Bhattacharya’s Decoding Bharatanatyam

Review
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When Representation (Almost) Becomes the Norm

Contemporaneity 2.0 at Progress Festival

Review
Aria Evans Prevailing Voices

What I Saw and How I Felt

Aria Evans and Lilia Leon's Prevailing Voices

Review
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Discovering That “Little Girl”

Claudia Chan Tak’s Bienvenue chez moi, petite Malgache-Chinoise

Review
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Shadows, Portraiture, Mime and Velvet

Four works old and new at 3,2,1 Dance!

Review
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Bgirls, Body Image and Being “Bossed Up”

that “F” word by SaMel Tanz

Review
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New Year, New Awakening

Soulful Messiah’s fifteenth year

Review
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Hauntings and Bleeding Hearts

Reflections on Kayoi Komachi/Komachi Visited and a crash course in Noh theatre

Review
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Provocative Impressions

Skeels Danse’s Rose of Jericho

Review
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Risqué Ballet, Risking Clarity

Alberta Ballet’s Dangerous Liaisons

Review
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On Double-Touch and Performing Objects

Deanna Peters’ META

Review