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Reviews

 

Edge 2 and 3

Dancing on the Edge 2016 By Rachel Maddock Dancing on the Edge Festival 2016

Kaleido by Tentacle Tribe for OURU Collective, Dialogue by Wen Wei Wang, the neck to fall by Ziyian Kwan and more in this series of capsule reviews.

 

A Wild Way Home in Le Petit Prince

Choreography by Guillaume Côté By Mark Mann Le Petit Prince

Le Petit Prince is both a perfect and a problematic choice. Perfect because the story is already furnished with all the necessary components for a conventional ballet, and problematic because Le Petit Prince is actually a dark and confusing book.

 

Memory, Music and Dance

EDAM presents Induction By Rachel Maddock Induction

Induction presented three new works by local choreographers Amber Funk Barton, Anne Cooper, Tom Shroud and Peter Bingham. As the audience gathered at the warm, intimate EDAM space near the intersection of Main and Broadway, I noticed the casual coziness of the place, worn in by years of dancing and performance.

 

Haunted by the Real in Dana Michel's Mercurial George

Festival TransAmériques 2016 By Philip Szporer, Mark Mann Mercurial George

Philip Szporer and Mark Mann review Dana Michel’s Mercurial George in conversation.

 

Mille batailles

Festival TransAmériques 2016 By Mark Mann, Philip Szporer Milles batailles

“Dance is physical combat most of the time,” wrote Louise Lecavalier in the notes for Mille batailles, a ferocious new work by the legendary Montréal choreographer and dancer at Festival TransAmériques.

 

Never Stop!

Festival TransAmériques 2016 By Philip Szporer Judson Church is Ringing in Harlem (Made-to-Measure) Trajal Harrell

The premise for Judson Church is Ringing in Harlem (Made-to-Measure) centres around what might happen if the Judson Church postmodern artists (Yvonne Rainer, Trisha Brown and the lot) had gone uptown to Harlem to perform alongside the vogue ballroom performers. (His previous works saw the voguers going downtown.)

 

The Black Piece by Ann Van den Broek

Festival TransAmériques 2016 By Mark Mann

When the lights go down at the beginning of The Black Piece by Ann Van den Broek, they stay down. True to the title, the Dutch choreographer plunges both the audience and the performers into obscurity and leaves us there. The darkness isn’t perfect – exit signs and stair lighting reduce pitch-blackness to deep shadows – but it is enveloping, and surprisingly electric.

 

Existential Reflections

Nous (ne) sommes (pas) tous des danseurs by Katya Montaignac and Sophie Corriveau By Philip Szporer Nous (ne) somme (pas) tous des danseurs.

Katya Montaignac teams with Sophie Corriveau, artist-in-residence at the Agora de la danse, for a round table event. Artists involved included a veritable who’s who, mainly drawn from Montréal’s deep pool of dance talent.

 

Renaissance Reimagined

Ballet Kelowna By Brittany Duggan Renaissance

Renaissance is an evening of contemporary ballet and contemporary music inspired by the music of Renaissance masters, a mixed program between Ballet Kelowna and Toronto’s Continuum Contemporary Music.

 

A Ferocious Dance Toward the Heart

Serge Bennathan and Les Productions Figlio By Naomi Brand Just Words

Just Words by Serge Bennathan reaches unabashedly for the heart with its words but hits the guts with its movement. Les Productions Figlio’s latest evening-length work addresses somewhat rare topics in contemporary dance these days such as love, beauty and art, all without apology.

 

This Is Not a Review

Newton Moraes Dance Theatre By Lee Slinger Testosterone

Titles challenge. They confront the potential audience member with a statement about a work. In his newest work, Testosterone, Newton Moraes uses the title as a challenge.

 

The Inertia of a Heavy Heart

DA Hoskins By Emma Doran Jackie Burroughs is Dead (and what are you going to do about it?)

Heavy-hearted, but not without curiosity, Hoskins’ choreography in this work is captive to gravity, and the dancers (purposefully) crumple under its inertia.

 

Blinded by Sound, Playing at Life

Bill Coleman and Gordon Monahan’s Dollhouse By Victoria Mohr-Blakeney Dollhouse

At first glance, the set of Dollhouse is its own cause for concern, a booby-trapped mess of wires, ladders, mousetraps and sound equipment. Coleman staggers through the chaos, knocking down tables and yanking wires, leaving a trail of destruction in his wake.

 

La Démarquise

Louise Bédard Danse By Mark Mann La Démarquise

Rite of Spring makes an appearance in Louise Bédard’s new work La Démarquise. It’s a small reference, delivered with a wink about a quarter of the way through the 110-minute performance – one of a handful of references to canonical works of art woven into this show.

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