Borrowing heavily from a classic Italian neo-realist film, ICKamasterdam bring contemporary dance into the boxing ring.
Brilliant, Denise Roig’s new collection of short stories, reflects the dazzling, sometimes dark, fascination of Abu Dhabi.
French choreographer Christian Rizzo has hybridized dances from across cultures to forge a vernacular that is at once singular, universal, and thoroughly contemporary.
Daniel Léveillé has thrown lycra onto his dancers, yet in its sparseness, the choreography is more exposing than nudity could ever be.
If you can still get tickets for Circa’s new show S at Théâtre du Nouveau Monde, I suggest you do so. Part of Montréal Completement Cirque, this performance was jam-packed with style, charm and humour; interesting enough for the aficionado, accessible enough for the neophyte. I was quite smitten with this Australian troupe and I’m going to tell you several reasons why.
Piss in the Pool (a co-production of Wants&Needs Dance and Studio 303) has become a staple of Montréal’s summertime dance scene. Now in its 9th year,…
Louise Lecavalier is rad. While most 54 year old women spent last Thursday night with Netflix and a bottle of red (not judging – that sounds great to me too), Lecavalier was dancing her guts out to a packed Théâtre Maisonneuve audience of 1,453 who responded in kind with a unanimous standing ovation. It was the final show of this year’s Festival TransAmériques, and it went out with a bang.
Montréal choreographer Ginette Laurin’s offering to Festival TransAmérique this year is an intricate “microsociety” in which endless dynamics are played out: love triangles, siblings, friends, partners, and enemies. Created in Madrid in 2012 and subsequently presented in Paris, Khaos is billed as “a subtle marriage of movement, sound, lighting and digital technology.”
Do you remember singing Frere Jacques or Row Your Boat at school, when your teacher would make you sing it in rounds? First one group would start singing, then another group would join in the existing voices but sing the song from the beginning. The end result was a satisfying melange of notes and voices all over the place and yet all performing the same function. Levée des Conflits was the contemporary dance version of that.
Are you up-to-date with current affairs in Rwanda? Do you wear yoga pants outside of the studio? Circulate online human rights petitions on the regular? Do you, perchance, like to partake in a Tam Tam drumming circle on Sundays? If you answered two or more of these questions in the affirmative, I saw a show last night that I think you’ll like.
100 years ago this week, the Ballet Russes premiered Rite of Spring in Paris and an instant classic was born. It was fresh and new, edgy and alive. It sparked a riot, so they say. At least one person was challenged to a duel. A duel, for Pete’s sake! That’s badass.
In the first of an ongoing series of short’n’sweet interviews, The Rover put five questions to Québecoise singer/composer/poet/musician Geeta, who will perform her new work The Bandit Queen this Friday and Saturday at Eclectik, an “interdisciplinary soapbox” at the MAI.
Samoan New Zealander Lemi Ponifasio and his company MAU have just returned to Montreal to perform at Festival Transamerique. The piece, Birds with Skymirrors, appeared in Santiago, Sydney and Ottawa before coming here. Lauded by the international press as “extraordinary” (The Guardian) and “surreal” (The National Business Review), the company is known for beautiful and disquieting work. An ex-pat New Zealander myself, I asked Ponifasio a few questions about politics, the environment, exoticism and the South Pacific.
“I like long titles because I want the audience to free associate,” says South African choreographer Robyn Orlin, on a glitchy Skype call from Germany. “Aaaand because I hate programme notes.”
I went into this not knowing quite what to expect. Aside from the fact that all the publicity material was in French (and my comprehension is – erf – on the patchy side), it was also fairly cryptic. “Prenez un verre et faites vos choix de tête-à-tête,” the e-flyer proclaimed. Okay, like one-on-one performances? Sure, I can get into that.