Tag Archive for 'dance'

Ensmble: Masterclass & Installation at Film Gate Interactive Miami

Quick post as I’m working on the install right now: I’ll be premiering my new participatory installation work Ensmble at the Miami Light Project as part of Film Gate Interactive Festival. I’ll also be teaching a masterclass while I’m here. Info & tix on Facebook here.

Friday January 31

Saturday February 1

Miami Light Project, 404 NW 26th St, Miami, FL 33127

Jacqueries: The Technician

Who By Fire at Quartiers Danses

Who By Fire has its Canadian premiere this weekend as part of the Quartiers Danses festival in Montréal. I’ll be around for both screenings.

Showtimes:

Musée des beaux-arts de Montréal

Saturday, September 14
11am

Cinéma Beaubien

Monday, September 16
7pm

Click here for more info or to buy tickets!

Jacqueries

Jacqueries is a heist story with a political edge — a site-specific live work with a companion iPhone app. It’s got a killer cast (Anisa Tejpar! Luke Garwood! Catherine Larocque! Mateo Galindo Torres! Anastasia Shivrina!), great music by John Gzowski, and video by Electric Square.
It opens in one week.
Get tickets!
If you want to buy tix at the door, please sign up for the production updates email list. We’re only using it for important updates (location changes, weather cancellations, app details &c), not for marketing or promotion.

Meet Cute (aka Canadian Tuxedo)

Meet Cute is a short, Dadaist romantic comedy. It was first performed at Fresh Blood 2012 at the Enwave Theatre in March 2012, and will be presented for Nuit Blanche 2012 as part of ‘Dada Reboot!’ at the Distillery District.

Always Be Closing – Next Week!

I’m premiering a new work, Always Be Closing, next week as part of At The Wrecking Ball V.

Always Be Closing is a bruising, physical, virtuosic solo for Montreal dancer Catherine Larocque. It takes the form of a hardcore sales seminar, putting the audience in the middle of the action.

It has a double musical accompaniment: Alec Baldwin’s testosterone-drenched monologue from David Mamet’s Glengarry Glen Ross, and the virtuoso Presto movement from Samuel Barber’s Violin Concerto.

At The Wrecking Ball is happening at the Lower Ossington Theatre, at 100A Ossington Ave. There are four shows: Thursday February 9th through Saturday February 11th at 8pm, and a matinee on Sunday February 12th at 4pm. Tickets are $15.

The show also features work by eight of Toronto’s leading dance artists. It should be a great night!

Upcoming Premiere: ‘Bastard Fugue’

I’ll be premiering a new work at The Chimera Project’s Fresh Blood at 8pm on October 29th, at the Enwave Theatre. Bastard Fugue features the National Ballet of Canada’s Naoya Ebe (at right) and is set to the Fugue from Bach’s Toccata, Adagio, and Fugue in C Major, arranged for mixed percussion. Including cowbell. Bach + cowbell is like chocolate + bacon: two great tastes that go great together! You can buy tickets here.

Bastard Fugue fuses live performance and projection to explore fugal composition with a single dancer. The Bach fugue, originally composed for organ, is stripped of melody and becomes a propulsive rhythmic fundament for a powerful performance. Some preliminary special thanks:

  • Naishi (Kamen) Wang of Toronto Dance Theatre for his valuable participation in the creation process;
  • The National Ballet School and the National Ballet of Canada for donating rehearsal space;
  • Malgorzata Nowacka for the opportunity to show this work;
  • Jeff Morris and Robert Stephen for participating in the technical workshop which spawned some of the ideas explored in this work.

Love in Vain (TBA:48)

Entry for the Dance Films Association “What Moves You” 48-Hour Challenge. Link changed to higher-quality version uploaded Sunday morning; the original is here.

Cast: Robert Stephen and Cristina Tucciarone. Special thanks to Pat and Cathie Dwyer, Aryon Elmers, Barbara Lane, Simon MacIntyre, Bev Peat, Jenn Stephen, John and Jane Stephen, Teri Worthington, and all our other donors.

Love in Vain: The Exclusive Making-Of Post

So my entry for the Dance Films Association’s 48 Hour Challenge got in on time and on budget. I owe a huge thank-you to everybody who contributed to said budget; I will be contacting everyone who made a donation to check if I can include their name in this post.

The film was made possible by the incredible team of people who jumped onboard this particular crazy train. Robert Stephen and Cristina Tucciarone were fantastic in the studio and in performance; I have to thank Robert—who has just been deservedly promoted to second soloist at the National Ballet of Canada—especially for putting attractive flesh on the bones of a very quickly-set piece of choreography. Elena Lobsanova (also now a second soloist) acted as rehearsal director and did wonders clarifying character in the choreography as the paint dried. Jeff Morris acted as my technical Yoda, and managed to remind me of various applicable laws of physics in time for me to figure out how to bend rather than break them. Pam Steele combined Stalin’s logistical talents with the grace and kindness of…well, not Josef Stalin. The miraculous John Webster got me thinking about the blues and shared much of his incredible collection of music. None of my work would be possible without Ryan Fontaine.

Two days is forty-eight hours. That’s a six-day work week, if you don’t sleep. And I didn’t, much. Friday night from midnight to three I bought and read newspapers, blogs, and tabloids; I came across the Sheela Ward Friendship Club, a syndicated classified column, in the Sun and the Globe and it hooked me immediately.

NY. 112-089. Correctional Institute Inmate. Tall, handsome Black gentleman. Romantic, compassionate, understanding, soon released. In search of a special lady for LTR. Age 40-60, race not important, a warm heart is.

TX. 112-088. Gentleman, financially secure looking for poor woman for wife. 50-55, very healthy, 5′ tall, under 140lbs, non-smoker.

IL. 112-094. Correctional institute inmate. I’m lonely, 28, handsome. Seeking a nice lady to write. Prefer if your over weight, unattractive, and older than I. Non greedy of course. Smile.

OH. 112-091. Correctional Institute Inmate. Smile. Promise, honesty, a lot of mail and smiles, a real friend, someone you can believe in. Implicitly on your time, allow me to earn your trust.

FL. 112-098. Correctional Institute Inmate. SWM 32. Good-hearted badboy. Been in twelve years. Shed a thousand tears. Love play, lots to say. Enjoy writing, studying, thinking, and laughing. Please respond.

The connection to the blues and specifically to Robert Johnson’s “Love in Vain” (the recording of which is in the public domain) happened almost automatically when I read the above ads. I slept for two hours and then literally shot from dawn to midnight (with some rehearsal time in the middle in a studio donated by the National Ballet of Canada). Saturday, I got a couple hours sleep and then hunkered down and edited.

The one disappointing part of the experience was the upload near midnight Saturday to dancemedia.com. I don’t know if their site was getting hammered with other entries, but it was sluggish and kept dropping the upstream connection. I’m sure there are promotional considerations involved, but I would suggest that the DFA use proven infrastructure like YouTube in future events.

I’m very happy with the finished film. Good music goes a long way, and this was: as Robert said, none of us got even remotely tired of it despite it playing on repeat for about twelve hours. Much of the tone emerged during editing as I watched Robert’s performance. I storyboarded the piece pretty carefully (if illegibly) and ended up sticking pretty closely to the plan in the editing.

Crucifixion Checklist

This is one of the many lists I scrawled before the shoot. You might think I was heading out to crucify someone; if you can’t read the chicken-scratch, it reads, “BRING: staple gun, hammer/driver, screws, dance stuff, advil, hacksaw, cell numbers, MUSIC.” I think that says it all.