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, Malpaso Dance Company's The Last Song, and Ballet Edmonton’s Feel No More.

Opening the program is Malpaso Dance Company’s The Last Song (La Última Canción), choreographed by Daile Carrazana as a tribute to Cuban singer and pianist Bola de Nieve. This work was developed in partnership with TMU’s Creative School, and three recent graduates perform alongside four company members. Pianist Katherine Dowling is also on stage throughout the work.

The choreography feels intimate—not in a sensual or romantic way, but it is almost snippy. The dancers, especially in an early duet, appear frustrated—not with each other, but with the world, leaning on one another in these moments of exasperation. They convey a shared sense of frustration and loss, exposing an honest side of themselves typically reserved for those closest to us. The movement, while demanding, has a relaxed, fluid quality, as the dancers seem to sink into their frustration, embodying an almost resigned exasperation in their interactions.

While this piece wasn’t my personal favourite—I find that it starts off a bit slow and feels somewhat one-note— it does have some intriguing moments and choreography.

Next up was The National Ballet of Canada’s islands, choreographed by Emma Portner. This stunning duet brings together two women in a beautifully entwined and almost menacing exchange. It feels like the dancers are hatching together, emerging from a shared shell.

I had seen this piece once before, and wrote about it in my review on NBC’s Winter Triple Bill. I was looking forward to experiencing it again, especially from a closer vantage point which revealed even more intricate details. I had not noticed during my first viewing that the dancers’ pants are actually conjoined, emphasising just how physically close the dancers are throughout the piece. I could also better appreciate the ‘sewing’ movements, where one dancer’s limbs act as the thread and the other’s as the needle, constantly weaving in and out of each other. The shapes they create together are quite breathtaking. It is a powerful duet that embodies a sense of feminine strength and unity.

This duet will tour in Paris and London with the National Ballet next month, and I couldn’t be prouder that it’s representing Canadian talent abroad. A great addition to the FFDN program.

Finally, we were treated to the world premiere of Ballet Edmonton’s Feel No More, choreographed by FFDN’s inaugural Artist-in-Residence, Anne Plamondon. The work is accompanied by live music from composer/pianist Zach Frampton.

First, let me just say how incredible the Ballet Edmonton dancers were. They are fierce in their technicality, but also in their performance ability. Bravo! The choreography was far from simple, and they tackled it with both grace and intensity.

The piece begins with eerie, creaking sounds that feel almost cinematic, while the stage is dimly lit (with powerful lighting design by Dorrie Deutschendorf). The dancers moved as if contorted, writhing in a kind of pain—think of a Harry Potter Cruciatus curse. The layers of tension and release in the choreography were beautiful, with the dancers embodying every ounce of frustration and emotion described in the program notes: “Reach. Grab. Tension. Release. ... and Listen. The body holds all the answers.”

A standout moment (besides the ending, which I won’t spoil) was a section of lifts where a dancer falls backward, nearly hitting the ground, only to be caught and thrust forward by the others before being lifted above their heads in one fluid, powerful motion. It happens three times and each time was just as powerful.

Overall, it was a great start to the FFDN festival. I am excited for what’s in store this season—this year’s lineup features some of my absolute favourite Canadian choreographers and dancers.

Up next for FFDN is Autobiography by Wayne McGregor with Company Wayne McGregor (October 1 & 2); 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).

Follow along with me as the festival continues!

Homecoming – 2024 Signature Programme, presented as part of Fall for Dance North, took place at The Creative School Chrysalis at Toronto Metropolitan University (43 Gerrard St East, Toronto, ON) on September 26 and 27. The Fall for Dance North Festival runs until October 6, 2024. Tickets range from $15 to $25 and can be purchased online here.

FFDnorth.com
Facebook: @fallfordancenorth and Instagram and Twitter: @ffdnorth

• Photo 1: Photo of Malpaso Dance Company (Daniela Miralles, Esven Gonzalez, Danny Rodriguez, Greta Yero Ortiz, and Dunia Acosta). Photo by Steven Pisano.
• Photo 2: Photo of National Ballet of Canada’s dancers Heather Ogden and Emma Ouellet in islands. Photo by Karoina Kuras.
• Photo 3: Photo of Ballet Edmonton. Photo by Nanc Price.

Written by Deanne Kearney - DeanneKearney.com @deannekearney