Paula Citron is a Toronto-based freelance arts journalist and broadcaster. She is senior dance writer for The Globe and Mail and arts reviewer for CLASSICAL 96.3fm. She is also a frequent contributor to Dance Magazine, Pointe magazine and Dance International. | Paula Citron [rédactrice invitée] est journaliste pigiste des arts basée à Toronto. Elle est rédactrice principale de danse pour The Globe and Mail et critique d’art pour CLASSICAL 96.3FM. De plus, elle écrit souvent pour Dance Magazine, Pointe magazine et Dance International.
Canadian Contemporary Dance Theatre’s (CCDT) annual WinterSong is now in its twenty-seventh year. The program was established in 1988 by co-directors Deborah Lundmark and Michael deConinck Smith as an antidote to the commercialism of the Christmas season. The teenagers that make up CCDT are consummate professionals who can dance rings around some of their adult colleagues.
Posted December 19, 2014On the eve of premiering a new full-length work with Little Pear Garden collective, choreographer and Artistic Director Emily Cheung talks about challenging – and respecting – tradition.
Paula Citron interviews Randy Glynn about this summer’s Dancing in the Third Act project.
Posted October 17, 2013That a dance company manages to reach a twentieth anniversary is no mean feat, given the difficulties that the performing arts face today.
Posted April 27, 2013She’s one of Canada’s most distinguished artists, and both her Esmeralda Enrique Spanish Dance Company and school, The Academy of Spanish Dance, are celebrating their thirtieth anniversaries this season.
Ever since the late, lamented fFIDA (fringe Festival of Independent Dance Artists) exited the scene in 2006, Toronto dance aficionados have been without their August fix. Happily, the new festival dance: made in canada/fait au canada (d: mic/fac) is filling that void.
Posted November 5, 2011DanceWorks, Toronto’s prestigious contemporary dance series, often programs joint concerts that feature shorter works. It is a clever idea on the part of curator Mimi Beck, because it allows for new creations without a choreographer having to self-produce an entire evening.
Posted March 30, 2010Lost and Found by Denise Fujiwara and Fidelity’s Edge by Susie Burpee: Toronto: March 4-6, 2010
Somewhere toward the end of dance Immersion, this writer had an epiphany. No matter how stirring the traditional African drumming and dancing, or how stylish a tap routine, or how attractive the synchronization of energetic b-girls, or how charming the Caribbean folklore, it was the contemporary choreography that gave substance to the evening.
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