Don't wait until the next Nextfest!

Unfortunately, the month of May has been incredibly busy. Between working as a mad scientist and rehearsing for the upcoming Edmonton International Fringe Festival performance I shall be performing in (with the lovely and talented Kelsie Acton choreographing), I have been neglecting my blogging duties. For that, dear readers, I sincerely apologize.

Last week, however, I had the pleasure of seeing many of my dance peers perform in Raena Waddell's Five as part of the Dance First, Think Later series at dancefest. If any of you saw Waddell's "The Surrender Method", you already know what to expect. Legs, arms, more legs, and then more legs. Five distinct dancers with distinct styles dance one-at-a-time then altogether. Though the first night was fraught with a few technical difficulties, the audience did not even notice the seamless transition the group had to make from what was the beginning of the dance into a quicker ending than planned. Or, at least I did not. The opening sequence showcased not only the movements that each body was most comfortable making but each dancer's personality. Celine Cattoen's amazing arm strength and calm, Kevin Mohabir's extension and intensity, Phil Kloc's clarity and sense of humor, Jade Pruden-Doherty's beautiful lines, and Raena Waddell's use of the space and choreographic genius. The unison and semi-unison sequences were intense, vibrant, and beautifully danced. Whenever I watch Raena's work, I get the feeling that I could just watch the dance stretch for eternity. Sadly, it ends with a video and dance portion. Though I enjoyed the entire performance (and not just because my friends were up there!), I got the feeling that it was unfinished. The piece needs that last bit of closure, I think, but that could also be me selfishly wishing there was more dance to see.

The second number, a very lyrical piece danced and choreographed by Lauren Kneteman entitled Fall Back to Bed, had a "So You Think You Can Dance" feel to it. Her legs, hips, and spine move in ways that my body certainly could not but I have a slight disdain for lyrical pieces since starting modern. Is it pretentious? Maybe. There is no denying that she is a beautiful dancer and technically well-trained, but I felt as though the choreography could move away from the area of pantomiming and into the realm of inspired. A pretty, sweet, almost hit.

The third number was excellent and brilliant in its simplicity. Hands On, choreographed and danced by Emily Schultz, starts from the hands and just never stops. The sequence repeats to different music and the urgency of her movements appears to change even though her movement does not actually change when she repeats the phrase. From the simple black of her costume to the clean, sharp lines of movement carved by her hands and rolling down through her body to her toes, Hands On will make you wonder how she makes what is clearly hard work look so easy.

Finally, Eryn Tempest's Spaces Stammering: I am no distance, I do not turn my head was a long but lovely piece. One of my colleagues complained that the number was far too long and, reflecting on it, the audiovisual portion does occupy a lot of time. For about 5-7 minutes, the audience watches black ink diffuse across a white screen before the piece and during a pivotal costume change. While I could complain about it, I thought the last costume change was worth it. First, Tempest wears a suit and creeps across the stage wearing a lantern slung across her back. You will be confused, I am sure, though delighted that she is pointing her toes using her hips as she slinks back and forth across the stage. After disappearing stage right, she comes back in a black, flowy dress, matching the ink spiralling upwards on the screen behind her. Girl can dance, yo. Next comes aforementioned five minutes of ink diffusion and a strangely unimpressive lights show from the house but THEN she emerges covered in little lights. The lights were so effectively placed that the slight movements of her head made me smile more than once. Mind-bogglingly cool visuals to follow. Everything in blue, broken only by the tiny white lights that slowly disappear from her outfit and make it to the stage floor, only to be picked up by the first suited character at the end. Tempest's was probably my favourite piece of the night.

Dance or Die is my next destination, assuming nothing goes horribly wrong in my life over the weekend. Since I have been away from this blog for so long, I owe you a proper post and not just a review. Thus, tune in next time for a discussion about dancer diets!!