Photo by Bruce Zinger.
![Artists of Atelier Ballet with tenor Antonin Rondepierre as Acis and soprano Meghan Lindsay as Galatea in the finale of Opera Atelier's production of Handel's Acis and Galatea. Photo by Bruce Zinger.]( "Artists of Atelier Ballet with tenor Antonin Rondepierre as Acis and soprano Meghan Lindsay as Galatea in the finale of Opera Atelier's production of Handel's Acis and Galatea. Photo by Bruce Zinger.")
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Photo by Bruce Zinger.
![Artists of Atelier Ballet with tenor Antonin Rondepierre as Acis and soprano Meghan Lindsay as Galatea in the finale of Opera Atelier's production of Handel's Acis and Galatea. Photo by Bruce Zinger.]( "Artists of Atelier Ballet with tenor Antonin Rondepierre as Acis and soprano Meghan Lindsay as Galatea in the finale of Opera Atelier's production of Handel's Acis and Galatea. Photo by Bruce Zinger.")
Review: Acis and Galatea (Opera Atelier)
Opening Opera Atelier’s fortieth season is Handel's Acis and Galatea—an English-language opera staged at the beautiful Elgin Theatre. With a campy love story, playful humor, and lots of dancing, this production, directed by Marshall Pynkoski, delivers the kind of accessible, vibrant production that Opera Atelier is known for.
Photo by Sasha Onyshchenko.
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Review: Burn Baby, Burn (Fall For Dance North / Côté Danse)
Ending my time with this year’s Fall For Dance North (FFDN) festival is Burn Baby, Burn , a new work by Guillaume Côté / Côté Danse, presented at the Fleck Dance Theatre. Inspired by the collective actions needed to combat climate change, this piece follows a fiery theme—aptly reflecting the urgency of our times and particularly poignant as we witness the devastation caused by Hurricane Helene in Florida.
Photo by Drew Berry.
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Review: Big Time Miss (Fall For Dance North / Rock Bottom Movement)
World-premiering at the Fall for Dance North Festival, is Big Time Miss by Canada’s own Rock Bottom Movement, choreographed by Artistic Director Alyssa Martin. This work feels like watching Merce Cunningham on drugs—or maybe just finally letting his dancers feel something—sprinkled with a healthy dose of silliness and the occasional hip thrust. (Meant with all the respect in the world.)
Photo by Ravi Deepres.
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Review: Autobiography V98 + V99 (Fall For Dance North / Company Wayne McGregor)
Unapologetically postmodern, Autobiography V98 + V99, presented by Fall for Dance North at The Creative School Chrysalis at Toronto Metropolitan University is a 75-minute dance work by Company Wayne McGregor. The work draws from McGregor's genetic code to create 23 sections, representing the 23 chromosomes in the human genome, arranged randomly using AI. As a result, no two performances are the same.
Photo by Nanc Price.
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Review: Homecoming – 2024 Signature Programme (Fall For Dance North)
It’s officially dance season! For me, it all starts with the Fall for Dance North (FFDN) festival. Celebrating its tenth anniversary, this year’s festival feels bigger and better than ever. Kicking off this milestone season is Homecoming – 2024 Signature Programme, presented at The Creative School Chrysalis at Toronto Metropolitan University. This two-hour show (with two intermissions) features three works: The National Ballet of Canada’s islands, Cuba’s Malpaso Dance Company performing The Last Song, and Ballet Edmonton’s Feel No More.
Photo by Caitlin Unrau.
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Review: Arising (Canadian Irish Dance Company)
How often do you get to witness a dance company take its first steps? It’s even more unique when that debut is an Irish dance production right in the heart of Toronto. Last night marked the debut of the Canadian Irish Dance Company with their work Arising, a celebration of new interpretations of Irish dance set to an entirely Canadian soundtrack.
Photo by Karolina Kuras
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Review: Jewels (The National Ballet of Canada)
Ending the 2023/2024 season at the National Ballet of Canada is George Balanchine’s Jewels, a plotless ballet that centers around three precious stones: Emeralds, Rubies, and Diamonds. Each gem is represented in a separate act, with costumes designed by Barbara Karinska that match their brilliance, and are brought to life by music from renowned composers: Fauré, Stravinsky and Tchaikovsky. This ballet is a showcase of three distinct styles that have shaped Balanchine’s illustrious career: French Romanticism, Contemporary American, and Russian Classicism.
Photo by Karolina Kuras.
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Inside The National Ballet of Canada's Mad Hot Ballet: Garden of Jewels Gala
What a fabulous season it has been at The National Ballet of Canada. This year marked my first time attending their annual fundraising gala, themed as a summer garden party, titled Garden of Jewels. This Mad Hot Ballet gala was an absolutely delightful way to cap off the season and to continue supporting the National Ballet of Canada.
Photo by Karolina Kuras.
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Review: Don Quixote (The National Ballet of Canada)
The National Ballet of Canada presents the North American premiere of Carlos Acosta's Don Quixote, beautifully reimagining this fan favorite. Renowned for its difficulty, Don Quixote demands virtuosic technique, speed, precision, stamina, and artistic flair from its performers. The audience was abuzz last night at the Four Seasons Centre as the company delivered just that.
Photo by Brian Medina.
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Review: JUNIOR 2024 (Harbourfront Centre)
Every May long weekend, the Harbourfront Centre hosts the annual Junior Festival, featuring a lineup of free or affordable performances of dance, theater, and circus, and activities for kids of all ages. This was my first time attending the festival and I had the pleasure of seeing three works: Make Me Dance by the Norwegian company Panta Rei Danseteater, Afrique en Cirque from the Guinean Cirque Kalabanté and BENCHED by Denmark’s Uppercut Dance Theater.
Photo by David-Hou.
![Photo of Soft.]( "Photo of Soft.")
Review: Unclearing (The Chimera Project Dance Theatre)
Unclearing, a contemporary dance double bill, delves into the intricacies of human emotion and experience. The program features Agrimony, co-created by dance artist Sophie Dow and musician Laura Rezek, and Soft choreographed by Malgorzata Nowacka-May.
Photo by Matt Barnes.
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Review: The Tragedy of Hamlet, Prince of Denmark (Côté Danse, Ex Machina, and Show One Productions)
Opening tonight at the gorgeous Elgin Theatre, The Tragedy of Hamlet, Prince of Denmark, presented by Côté Danse, Ex Machina, and Show One Productions, is a wordless dance spectacle that captivates from start to finish. Choreographed and co-designed by Guillaume Côté and directed and designed by Robert Lepage, this production beautifully demonstrates that words are not necessary to convey the essence of this timeless Shakespearean tale. I attended a preview of the work last night, and it exemplifies the power of creative collaboration. From the music to the choreography, direction, and cast’s performances, each element is beautifully crafted to tell the tale.
Photo by Karolina Kuras.
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Review: Winter Triple Bill (The National Ballet of Canada)
Winter Triple Bill, presented by the National Ballet of Canada, showcases three distinct works on the Four Seasons Stage. From the intimate duet of islands by Canadian choreographer Emma Portner, to the neoclassical elegance of Suite en Blanc by Serge Lifar, and the digital-age reflections of UtopiVerse by Canadian William Yong, this Triple Bill offers a diverse mix of contemporary and classical ballet, highlighting the exceptional talent of Canadian dancers and choreographers.
Photo by Karolina Kuras.
![Tirion Law, Siphesihle November, Jack Bertinshaw and Jurgita Dronina in Alice's Adventures in Wonderland. Photo by Karolina Kuras. Courtesy of The National Ballet of Canada.]( "Tirion Law, Siphesihle November, Jack Bertinshaw and Jurgita Dronina in Alice's Adventures in Wonderland. Photo by Karolina Kuras. Courtesy of The National Ballet of Canada.")
Review: Alice's Adventures in Wonderland (The National Ballet of Canada)
The National Ballet of Canada's production of Alice's Adventures in Wonderland is a fun, vibrant, and imaginative ballet that brings Lewis Carroll's classic tale to the stage. Since its introduction to the company in 2011 through the choreography of Christopher Wheeldon, an Artistic Associate of The Royal Ballet, this work has become a regular and beloved feature in the National Ballet’s repertoire. It's easy to see why!
Review: Eve of St. George (TranscenDance project)
TranscenDance Project makes a spectacular return with its production of Eve of St. George, an immersive reimagining of Bram Stoker's eerie tale of Dracula. Guests don masks and are set free to roam the four levels of The Great Hall, transformed into a gothic Victorian setting where the stories of sixteen characters come to life. Created by the ingenious Julia Cratchley and scored by the award-winning Canadian composer Owen Belton, this performance is truly an unmissable treat.
Photo by Marlowe Porter.
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Review: Winter Double Bill (Toronto Dance Theatre)
Toronto Dance Theatre presents Winter Double Bill, the company's season opener featuring two distinct works: FACE RIDER by Fran Chudnoff in collaboration with Driftnote and Angela Cabrera, and Odd-Sensual, a work by Artistic Director Andrew Tay in collaboration with TDT ensemble members.
Photo by Maya Yoncali.
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Review: Deciphers (Naishi Wang and Jean Abreau / Harbourfront Centre / DanceWorks)
Deciphers, presented in part by the Harbourfront Centre and DanceWorks, is a venture into the realm of dance-theater, aiming to illuminate the immigrant experience. This exploration is the creation of independent dancemakers Naishi Wang and Jean Abreau. Wang, originally from China and now based in Toronto, and Abreu, hailing from Brazil and currently based in London, merge their unique background for this work.
Photo by Skye Schmidt
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Review: The Look of Love (Mark Morris Dance Group / TO Live)
With 11 honorary doctorate degrees and a repertoire of over 150 choreographed works to his name, the arrival of the illustrious Mark Morris to town is always a treat. The Look of Love, presented by TO Live, is a newer contemporary dance work (created in 2022) performed by the New York-based Mark Morris Dance Group. This production stands out as a rhythmic delight, brimming with love, humour, and sprightly dance choreography.
Photo by Michael Slobodian.
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Review: Assembly Hall (Kidd Pivot / Canadian Stage)
Assembly Hall unfolds the tale of medieval reenactors in a general meeting within a local community hall. They obsess over Robert's Rules, from points of order to motions to move, yet the rules still cannot control the quirky outbursts and conflicts within the group. The discussion centers on their event, “Quest Fest,” which is plagued by dwindling attendance and funds, leading to a vote on the group’s dissolution – a topic that splits the group.
Photo by Andre Cornellier
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My Love Letter to Louise Lecavalier: A Review of 'Stations' at Harbourfront Centre
I grew up watching clips on YouTube of Louise Lecavalier dancing with the incredible La La La Human Steps, a contemporary dance company from Quebec. They were known for their completely fearless physicality, with dancers throwing their bodies in every direction in the most amazing physical feats. La La La Human Steps were especially famous for their signature move—a barrel jump, a fully horizontal, mid-air full body circle jump. Of course, I've attempted to replicate this jump many times and still share clips of their performances with my students to this day.
Photo by Karolina Kuras.
![Photos of Jurgita Dronina and Guillaume Côté in Onegin. Photo by Karolina Kuras.]( "Photos of Jurgita Dronina and Guillaume Côté in Onegin. Photo by Karolina Kuras.")
Review: Onegin (The National Ballet of Canada)
I have little interest in conventional celebrity culture. As a dance enthusiast, my world of celebrities revolves around dancers and choreographers, with Guillaume Côté ranking high on my list. Slated as our very own Canadian Baryshnikov, Côté's tenure at the National Ballet of Canada starting in 1998, marking a twenty-four-year tenure, has been nothing short of remarkable.
Photo by Karolina Kuras.
![Photo by Karolina Kuras.]( "Photo by Karolina Kuras.")
Review: Emma Bovary and Passion (The National Ballet of Canada)
Following intermission, Emma Bovary, plunges directly into the tumultuous psyche of its protagonist, Emma, as inspired by Gustave Flaubert's classic 1857 novel Madame Bovary. This piece navigates through intense themes of romantic idealism, materialism, and the intricate impacts of mental and emotional health and presents a new approach to the creation of narrative ballets. Rather than compressing the entire novel, the ballet focuses sharply on Emma's gradual descent into madness, offering a compelling experience tailored for modern audiences.
Review: Gluck's Orpheus and Eurydice (Opera Atelier)
Orpheus and Eurydice is an opera composed by Christoph Willibald Gluck, first performed in 1762. The opera is based on the mythological story of Orpheus (in this performance played by Canadian tenor Colin Ainsworth), a musician so skilled that even animals and nature would listen to him, and his love, Eurydice (played by Soprano Mireille Asselin). The tale revolves around Eurydice's untimely death and Orpheus's journey to the Underworld to bring her back to life with the help of the god of love, Amour (played by Soprano Anna-Julia David).
Review: Näss (Fouad Boussouf/Harbourfront Centre)
Launching the 2023/2024 Torque season at the Harbourfront Centre, is Näss, bringing a unique stoic intensity to the stage. Choreographed by Fouad Boussouf, this hour-long piece combines breaking and house footwork with contemporary dance and traditional North African movement, crafting a beautiful textured movement vocabulary.
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