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.
This piece is quintessentially Wayne McGregor. A trailblazer in contemporary dance, McGregor is an award-winning British choreographer known to play with technique and experimental performance. His most well-known work in Canada is likely Chroma, which has been performed by the National Ballet of Canada—though perhaps it's just a personal favorite of mine. More recently, he returned to Canada to choreograph the National Ballet’s MaddAddam, based on Margaret Atwood’s novel of the same name.
McGregor isn’t one to find inspiration where others do, nor does he reveal much about his creative process, which feels ironic for a piece titled Autobiography. I will say that I love the cleverness of the title, playing on the concept of "the body as archive," based on choreographing on his own genetic code. You do not leave feeling like you know any more about his life or identity. I was a little surprised that the programme didn’t mention the work’s basis in genetic coding or randomization—there were only small bits about it on the website, but perhaps this is purposeful.
The piece is performed by nine dancers to an original electronic score (mostly, it has other musical moments) by DJ Jlin. The stage is bare, dark, and foggy, creating a minimalist atmosphere. The choreography is highly technical, blending sharp precision with fluid, slinky movements—think perfect brisés transitioning into body rolls. Some sections push the dancers' flexibility to the point of near-contortion. The choreography is abstract, with no emphasis on gender roles, and duets lack a traditional lead. It’s technically brilliant yet playful, with layers of stillness interspersed with dynamic movement.
Lucy Carter’s lighting, combined with Ben Cullen Williams’ set design, becomes a performer in its own right. Metal latticework and a grid of lights hang above the dancers, shifting color to match the mood. The lights almost seem to breathe with the dancers, while the latticework rises and lowers, at times descending so low that the dancers have to lie flat to fit beneath it. Although I appreciated the lighting design, I felt a strobe light warning was necessary before the show, but I did not notice one.
Aitor Throup’s costume design also perfectly complements the piece, using nude, black, and white tones, with plenty of exposed skin, creating an almost genderless appearance, much like the choreography itself.
Although the show has a lot going for it, it feels scrambled (as it is), with several moments that seem like endings but give way to a new sequence. Since the piece is deliberately randomized, I wonder what would happen if AI were asked to determine the optimal sequence for the show, rather than generating a random one. That would be an intriguing use of AI, possibly offering more structure to the abstract nature of the piece, which, as it stands, might not appeal to everyone. However, I think anyone would be impressed by the performers’ sheer physical skill.
While Autobiography V98 + V99 has many impressive elements, there were moments that were more difficult to sit through. The jarringly loud sounds and a few moments of aggressive lighting, in particular, stood out. The soundtrack features deep, heavy bass and some screams, and at times, the lights shine directly on the audience. While I know not everyone appreciated this, I actually enjoyed it—I like seeing the reactions of fellow theatergoers during performances. That said, I do think the piece could benefit from being part of a mixed bill, perhaps with a shorter duration. However, I really appreciate that FFDN is committed this season to presenting full works rather than just mixed bills.
Up next for FFDN is the world premiere of Big Time Miss by Alyssa Martin with Rock Bottom Movement (October 2-5); the world premiere of The Mars Project by Travis Knights & Lisa LaTouche with Tap Love Tour (October 4-6); and the Ontario premiere of Burn Baby, Burn by Guillaume Côté with Côté Danse. Ottawa’s Propeller Dance will also feature in the festival with the Toronto premiere of Waiting in the Wings No More (October 4-6). Additionally, FFDN is partnering with Citadel + Compagnie for the late-night series Night/Shift (October 3-5).
See you tomorrow with a review of Big Time Miss!
Autobiography V98 + V99, presented as part of the Fall for Dance North is playing at The Creative School Chrysalis at Toronto Metropolitan University (43 Gerrard St East, Toronto, ON) again on October 2nd, 2024. Tickets cost between $15 and $25 and can be purchased online here. The Fall for Dance North Festival continues until October 6, 2024.
Photo 1: Photo of Company Wayne McGregor. Photo by Ravi Deepres.
Photo 2: Photo of Company Wayne McGregor. Photo by Ollie Adegboye.
Written by Deanne Kearney - DeanneKearney.com @deannekearney
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