Reviews
The Inner Lives of Clowns
Kemi Projects explores performance and desire in new work Known By Erin BaldwinJennifer Dallas explores the tension between performativity and desire in Known, a new work by Kemi Contemporary Dance Projects presented at Artscape Youngplace in Toronto.
Posted February 5, 2020
When Bygones Won’t Let Go
The newest work from Out Innerspace Dance Theatre By Kate MorrisTo “let bygones be bygones” means to let go of negative elements of the past and get on with things. Out Innerspace’s Bygones invites us to consider how negative experiences persist in the present and the ways we might cling to them, even at our own expense.
Posted January 9, 2020
Dystopian Impressions
Marie Béland’s Beside By Philip SzporerFragmentation immediately pervades Marie Béland’s imaginative Beside, a collaboration of maribé - sors de ce corps and Montréal Danse.
Posted January 7, 2020
Expanding Their Reach
All Bodies Dance Project investigates sightless dance By Rachel Silver MaddockHow do we experience dance through our non-visual senses? This is one of the questions asked by All Bodies Dance Project in their new work Translations.
Posted January 2, 2020
On the Steps of the Escalators
An after-hours performance with jes sachse By Tak PhamUnder the roof of the library, sachse’s questions were nuanced by this highly regulated architectural space: equipped with sound mufflers, fluorescent lights and surveillance points, libraries are typically built to deter disturbance and promote solitary contemplation.
Posted December 31, 2019
Devious Spine Chills
Hélène Blackburn and Lucie Bazzo’s Suites Ténébreuses / The Monsters By Xdzunúm Danae Trejo-BolesThere was a soft calmness to the dark theatre space of Agora de la danse as a mixed audience entered to see Cas Public’s Suites Ténébreuses / The Monsters, co-created by choreographer Hélène Blackburn and lighting designer Lucie Bazzo.
Posted December 9, 2019
Humanity Adrift
Alan Lake Factori(e)’s Le cri des méduses By Dylan SchoenmakersA painting come to life, Le cri des méduses dramatizes humanity at its most fractured and desperate.
Posted November 21, 2019
Repetition is a Form of Change
Andrea Peña’s Untitled I + III By Helen SimardIn her latest work, choreographer Andrea Peña uses “sameness,” or repetition, as a catalyst for change, highlighting the transformative nature of the body as it oscillates between a site of resilience and vulnerability.
Posted November 12, 2019
In the Grip of a Crowd
Hanna Kiel’s Resonance By Erin BaldwinIf you’re looking for clues to deciphering Resonance, the new dance production from Toronto-based choreographer Hanna Kiel, you might start with the name.
Posted October 29, 2019
A Quizzical Assortment
Three choreographers remix Melanie Demers’ Cantique By Philip SzporerWhen you let other choreographers remix your work, radical shifts can result, bringing into question cultural practice
Posted October 28, 2019
Performing Radical Sincerity
Dana Michel’s CUTLASS SPRING By James OscarDana Michel’s latest serving challenges us to reach into our imaginations to create our own intimate vocabularies while sitting with the work.
Posted October 9, 2019
A Glimmer of Hope
Rodney Diverlus and Syrus Ware’s burn, burned By Valeria NunziatoThrough their original work, burn, burned, Rodney Diverlus and Syrus Marcus Ware present a fictitious futuristic setting following a band of revolutionaries looking to salvage what is left after decades of race-driven war and destruction.
Posted October 7, 2019
Reclaiming Narrative for a Contemporary Audience
Josh Beamish’s @giselle By Rachel Silver MaddockIn @giselle, Josh Beamish takes the tragic romance of Giselle, which dates back to 1841, and inserts a third player, social media, to expose its role in modern-day relationships.
Posted September 19, 2019
Defying the Familiar
dance: made in canada’s Mrozewski Series By Valeria NunziatoThe Mrozewski series at this year’s dance: made in canada festival defy the familiar with Katia-Marie Germain’s Habiter and Josh Martin’s Leftovers.
Posted September 17, 2019
Advertisement
