Geneviève Metson plays with phosphorus in the lab and has learnt its story. She will tell it at Place Bonaventure on Saturday with an interactive dance performance. Its movement—from soil to water, from food to compost, from not enough to too much—is complex and controversial. With her research, this McGill PhD candidate hopes to develop and encourage better management of phosphorus. And with the dance she has co-choreographed, she also hopes to encourage better understanding of it.
Founded in 2011 by the phenomenally talented Emily Gualtieri and David Albert-Toth, the bilingual young company Parts+Labour_Danse premiered their outstanding new creation, In Mixed Company, at the Monument-National, preceded by a reprise of the solo performance La Chute.
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.
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.
Dear Dana Michel, This is just to say that I have no idea how to review your work, Yellow Towel, that I saw last night as part of the FTA — a dilemma as I am a dance critic and one who, as you will appreciate, must produce something and in a timely fashion.
Last night, South-African choreographer Robin Orlin and the Moving into Dance Mophatong company presented Beauty remained for just a moment then returned gently to her starting position… Despite Orlin’s international reputation as a creator of powerful and provocative works, Beauty failed to pack a serious punch, giving a disappointing start to the FTA festival for dance.
“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.
Jonathan Burrows and Matteo Fargion were in Montreal this past weekend for a blink-and-you’ll miss-it run of Cheap Lecture and The Cow Piece, followed by Counting to One Hundred and One Flute Note. Packaged by Usine C as Quatre Créations in two nights, the individual works seemed shakily whole – a feeling reinforced at the close of each by Burrows and Fargion’s look of bemused surprise that they had, once more, pulled it off.