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Reviews

 

The Sight (Site) of Motion 

By Philip Szporer "Vortex 1"

Van Grimde Corps Secret’s latest production, “Vortex 1”, is just the latest in a series of Montréal dance concerts that have featured live musicians onstage, and in close proximity to the audience.  

 

The Innocence of Schoolgirls 

By Suzanne Jaeger "Signs" Yvonne Ng, Princess Productions

Yvonne Ng’s two-part work, “Signs” is a well-mixed suspension of text, movement, music and percussion in a fluid performance of theatrical dance. Katherine Duncanson composed a new score for the first dance “Paper Women”, and Lee Pui Ming created a work for “Emerald Lies”. Ng also invited poet Lindsay Zier-Vogel to contribute to the creative process by translating into poetic language the physicality of the choreography she observed in rehearsals.

 

Rhythmic Confrontation 

By Philip Szporer “Exit” Dominique Porte, Système D

Confrontational and contained, Dominique Porte’s Exit, features music compositions by four Canadian composers – James Harley, Nicolas Gilbert, Michael Oesterle and Howard Bashaw – with Véronique Lacroix of the Ensemble contemporain de Montréal directing the live performances of percussionist Philip Hornsley and pianist Pamela Reimer.  

 

Pushing Past the Comfort Zone 

By Philip Szporer “Lost Pigeons” David Pressault Danse

For David Pressault’s Danse-Cité production, “Lost Pigeons”, the dancer-choreographer uses the symbol of the sexy pigeon as his central image to probe today’s lost generation of lovers who see relationships slipping away.  

 

It Dances as a Whole 

By Kaija Pepper “5 AM” Paula de Vasconcelos, Pigeons International, PuSh International Performing Arts Festival

The rhythmic flow and poetic abstraction of “5 AM” (“5 Heures du Matin”) lends the whole of Paula de Vasconcelos’ well-produced and visually outstanding dance/theatre work a polished choreographic feel. Yet the pure dance sections themselves were disappointing.  

 

What can you say about love? 

By Kathleen Smith "The Betrayal Project" Julia Sasso Dances

What can you say about love, lust and sex that hasn’t already been said in a million different ways in a multitude of media? This is the fundamental dilemma that must underpin any discussion of Julia Sasso’s new full-length exploration of eros: “The Betrayal Project”. 

 

Three Exceptional Women 

By Kaija Pepper Dances for a Small Stage XII  Dances for a Small Stage

Dances for a Small Stage takes place in a bar, the Crush Champagne Lounge on downtown Granville Street, just a few steps away from The Dance Centre. The bar venue is crucial to the success of the popular series, which is produced by Day Helesic and Julie-anne Saroyan of MovEnt, because having a good time is what Small Stage is all about.  

 

Seriously Improvising 

By Kaija Pepper “Thirst” Peter Bingham, Wen Wei Wang

The partnership of Peter Bingham and Wen Wei Wang is a surprising one. Bingham is an older dancer, in his mid-fifties, and widely known as a master of contact improvisation. Wang, fourteen years younger, studied Chinese dance from a young age, was a member of Ballet British Columbia for several years and has a growing reputation as a contemporary choreographer. 

 

Moments Apart, Together 

By Philip Szporer “Au coeur de l’inconnu/At The Heart of The Unknown” Andrew de L. Harwood, Kirstie Simson

A couple of comments linger long after watching the performance of Andrew de Lotbinère Harwood and Kirstie Simson, both accomplished dancer/improvisers. Prior to attending the concert, which occurred during the recent CORD (Congress on Research in Dance) conference in Montréal, one of the speakers, an academic from the United States, asked what was playing in town that night, and I mentioned the show at Studio 303. Her response was curt: “Oh, is [Harwood] still doing that?” That not-so-gentle put-down was countered by a woman who exited the show, remarking, “[Simson] has managed to take him far beyond what he normally does.”  

 

Finding Entertainment in an Artist’s Obsessions 

By Suzanne Jaeger "bODY_rEMIX/gOLDBERG_vARIATIONS" Marie Chouinard, Compagnie Marie Chouinard

It is not that Chouinard has run out of ideas. “bODY rEMIX” is a rich, wildly entertaining compilation of playful associations, sensual and erotic imagery and stunning virtuosic dancing enhanced by a cleverly woven mesh of percussive sounds, music, recorded speech, breathy sighs, grunts, orgasmic gasps and squeals.  

 

A Ballet with Teeth 

By Garth Von Buchholz “Dracula” Mark Godden, Canada's Royal Winnipeg Ballet

Mark Godden’s Dracula is a twentieth-century Goth guy (the dance premiered in 1999) tricked out in nineteenth-century vampire garb. He’s been clever enough to get himself a film deal (Guy Maddin’s “Dracula: Pages from a Virgin’s Diary”) that garnered rave reviews around the world.  

 

Physical Resonance 

By Philip Szporer “Play It Again!”   Danièle Desnoyers, Le Carré des Lombes

Danièle Desnoyers’ new work, “Play It Again!”, is detached from narrative. Well mostly: there’s the resonance of tough guy Humphrey Bogart’s famous line in the film classic Casablanca, indelibly linked to tinkling the ivories.  

 

Tranquility, Destruction, Struggle, Amusement: Four Choreographers, Four Very Different Dances  

By Suzanne Jaeger Four at the Winch Sara Porter, Andrea Nann, Valerie Calam, Louis Laberge-Côté, Toronto Dance Theatre

A musician sits at the far left of the stage with a banjo and percussive instruments including bowls of water. In front of him is a small boat, “dry docked” with colourful nets hanging from it. Invoking familiar images of a seaside beach, a life jacket and bucket hang from ropes dropped from the fly, and at the front, seashells of various sizes and shapes are piled on the floor. The dance begins with … 

 

Dancing the Architecture 

By Philip Szporer "Full Time at the Belgo" Lin Snelling

Lin Snelling and her assembled troupe did a fine job of imagining the Belgo building in “Full Time at the Belgo” (“FTATB”). The stage for the innovative site-specific dance project was the vast, six-storey fixture itself, located at Saint Catherine Street West and Bleury. Dancers explored the architecture of the building and their bodies, and the public was invited along for the ride.  

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