Review: Burn Baby, Burn (Fall For Dance North / Côté Danse)
Ending my run 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.
Performed by nine dancers, this contemporary work is one of my favorites of Côté’s so far. The stage is dimly lit and filled with fog, with a strong emphasis on warm backlighting designed by Simon Rossiter. This lighting aesthetic creates an atmosphere reminiscent of Hofesh Shechter’s work. The choreography is rich with gestural work, enhanced by an added pulse and rhythm, and the dancers transition seamlessly between the group’s collective pulse and other solo and duet sequences.
The dancers wear tan and mute tones, occasionally accented by bold red pieces, particularly red gloves, as designed by Yso South. These gloves draw the viewer's attention to the hands and arms, and the choreography fully capitalizes on this focus, creating beautiful and intriguing movements in these areas.
The physicality of the piece is intense, with constantly shifting, layered sections that offer plenty to take in. High-energy, fast-paced group sequences keep the audience fully engaged, contrasting with slower, more intricate duets and solos. The piece builds beautifully from start to finish, leading to a neat, cinematic ending (which I won’t spoil).
One of the most captivating moments of the work for me was when the entire ensemble performed a rapid, layered gestural sequence, with hands reaching out in all directions as if searching for answers. Another standout moment was a duet featuring beautiful partnering, mentioned because of a remarkable slow-motion assisted head spin with pointed toes.
The original score for the work by Amos Ben-Tal, artistic leader and co-founder of OFF Projects, complements the choreography perfectly. The soundscape includes subtle yet evocative details, like the faint ticking of a clock or the distant sound of children playing, which adds depth to the mood without overpowering the movement.
The dancers come from diverse movement backgrounds, which adds a rich texture to the work, as each performer brings their own unique physicality to the ensemble giving the choreography a more individualized feel within the group dynamic. A standout performer was Kevin Lau, and I found myself wanting more moments with him at the center of the action. His jumps are incredible—and his movement is precise, strong and full of energy.
What a fantastic way to close out the 10th anniversary of FFDN! The tenth edition of the festival has truly impressed me with its lineup, wonderfully balancing international talent while keeping Canadian work at the forefront. Ilter Ibrahimof has done an extraordinary job founding and curating this festival over the past decade, and his departure will leave big shoes to fill.
For those who still want to catch Burn Baby, Burn, it’s showing today alongside The Mars Project by Travis Knights & Lisa LaTouche with Tap Love Tour (October 4-6); and Ottawa’s Propeller Dance with the Toronto premiere of Waiting in the Wings No More (October 4-6).
See you next year FFDN!
Burn Baby, Burn, presented as part of the Fall for Dance North is playing at the The Fleck Dance Theatre at Harbourfront Centre (207 Queens Quay W, Toronto, ON) again on October 6th, 2024. Tickets cost between $15 and $25 and can be purchased online here.
Photos by Sasha Onyshchenko.
Written by Deanne Kearney - DeanneKearney.com @deannekearney
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