Sunday, July 10, 2011

Christine Birch and everything in moderation: Toronto Fringe Dance Interviews 2011

Christine Birch and Rhonda Baker -- photo by Omer Yukseker

Christine Birch and Rhonda Baker get saturated in everything in moderation. Two shows under their belts and here’s a little interview with Christine to tempt you into a seat for the remaining shows. If you’re reading this on Sunday – their next show is at 1:15pm today, so read the interview later and head on out to the show!


LR: I'm intrigued by the friendship that fuels this project. On your website it says you and Rhonda met on your first day of professional training. How has this friendship worked it's way into everything in moderation?

CB: The thing is with Rhonda and myself, there’s never been a choreographer - dancer separation. Our “real life” happenings kind of seamlessly blend in to our rehearsals and vice versa.

Sometimes we wonder if other people work the same way we do or if laughing through half the rehearsal is abnormal…we just go with the flow I suppose.

We know each other so well it’s hard not to let our friendship infuse into the realm and nuances of the work – we exist within it in a lot of ways even though the piece is not about us per se.

LR: What are your vices, those things you can't take or have in moderation?

CB: I would say technology would be my biggest vice and probably is the same for most of my generation. Rhonda and I spend far too much time on social networking sites for our own good although it is a great way for us to connect when we are in different provinces.

Even texting, checking email on a regular basis – there seems to be that need to stay connected to your online persona which I don’t always think is a healthy thing.

It has become a major part of life though so it's very difficult to not be connected. Then there are all the normal vices like over indulging in music listening, beer and chocolate but those ones aren’t so bad really!

LR: What made you want to embark on the Fringe Festival experience?

CB: I actually stumbled upon the Fringe Festival this year - I only submitted my name right before the deadline. When I found out I had been drawn I felt a mix of emotions including fear and excitement.

I co-produced a multi-disciplinary show in the Winnipeg Fringe Festival last summer so I had an idea of what Fringe is all about. I'm thrilled that I have the chance to produce dance work for an audience, which isn't necessarily exposed to dance.

As an interpreter to have a run of seven shows is also pretty fantastic and actually gives one the chance to realize the depth of the work. There is a lot of great energy surrounding the fringe festival and I’m proud to be dancing in a festival with so many other emerging artists in the dance community.

LR: What are the parallels between saturation/moderation and reality/fantasy? How do you link those two ideas, do you link those two ideas?

CB: Everything is relative to what you consider reality and what saturation is. For us – those lines are very close to one another. We joke a lot about obsessing or spending too much time on social media or over certain bands’ music.

We often think that we’re not living in the “real” world but then we have to ask ourselves what is real? I think people obsess as much about things they are addicted to as much as they do about trying to stay in control so I suppose in both situation balance doesn't really exist.

Fantasy most definitely can blend into reality very easily or at least in the daily life in the dance world. Like I said – it’s a very blurry line…

LR: Is there a story to everything in moderation?

CB: There isn't exactly one solid story or plot going on – it’s really just two different takes on what moderation means to us. You know all those things one struggles with and how we deal – sometimes it’s plainly saying ****this and walking away.

The movement is brash, physically demanding, and also very human at some points. We’re just two women having a lot of fun doing what we love to do.

LR: Thanks Christine for the interview and have a wonderful rest of your run at the Fringe!

everything in moderation
by Rhonda Baker, Christine Birch & Tara Gaucher
(www.letsgetsaturated.wordpress.com)
presented by Christine Birch from Toronto, ON

Choreographer: Rhonda Baker & Tara Gaucher
Cast: Rhonda Baker & Christine Birch
Genre: Dance, Physical Theatre
Venue 6 George Ignatieff Theatre

45 min.
Wed, July 6 8:45 PM
Sat, July 9 Noon
Sun, July 10 1:15 PM
Tue, July 12 5:15 PM
Wed, July 13 9:15 PM
Thu, July 14 2:15 PM
Sat, July 16 9:45 PM

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee).

Several money-saving passes http://fringetoronto.com/fringefest/passes are available if you plan to see at least 5 shows

Saturday, July 9, 2011

Carlynn Reed and Jonathon Neville in Let's Play House: Toronto Fringe Festival 2011




Carlynn Reed and Jonathon Neville answer some questions about Imagiscape’s Let’s Play House, a compelling expression of the complexities of caregiving. Six years after its premiere, it comes to the Toronto Fringe Festival. Carlynn and Jonathon (J&C) answer some questions.

LR: Can you tell me what Let's Play House is about?

J&C: Let’s Play House is about changing habits – it’s about changing families without making everyone hate everyone. It is about us as caregivers. Jonathon is sole caregiver for his mom, Christine, who has Alzheimer's. Following university, living at home was becoming stressful but it was increasingly clear she could not live alone. She clutches to a PhD which can't help her now. She says she wishes she was dead.

Carlynn is primary caregiver for her son, Kirk, who suffered a soccer injury. Instead of healing normally, he plummeted into full-body pain. This once-tough athlete and great musician lay on the couch, unable to walk or talk. Months turned to years. No diagnosis. Grim prognosis.

We create theatre with our families about our families. The story overlays and interweaves 3 stories: each of our homes, and the creative process that changed them. Dance is integral to the story.

LR: How have you managed to create a show about chaotic caregiving while experiencing chaotic caregiving?

J&C: When we discovered we were both caregivers and dancers and theatre artists, we knew we needed to take our homes through a creative process. Our homes were stuck systems, where attempts to help elicited defence mechanism responses. Creating this theatre project gave us something we could do together – something we could talk about that was actually enjoyable. It created a context that allowed open dialogue.

We transcribed and categorized fights. We went into rehearsal having a sense of the dynamics that lead to our various typical conflicts. We challenged each other when we saw repetitive default behaviours. We began to care for the progress in the other home as much as our own.

We filmed rehearsals and at home for purposes of a future documentary. Although initially we did not realize how supportive this would be, the camera was attentive, kind, steady, compassionate, and patient. Our videographer was our 'outside eye' - an integral part of our process.

LR: Has the autobiographical nature of the performance been difficult or challenging?

J&C: We needed consensus without compromising the drama. For instance, Jonathon had to get Christine to agree that the not-always-pretty presentation of her is fair – and that it should be exposed to the public to see. She accepted the suggestion that it does not make her look bad – rather she looks grand to have been willing to give her story to help other struggling families.

Christine and Kirk both contributed to the script. When we started learning lines, Christine was our script prompter. She wouldn’t let us include a fart scene. We honoured her request.

Kirk wrote two songs for the show – he was unable to hold his guitar or play piano or sing, but he whistled and Jonathon played it back on the piano. That was Kirk’s first creative act in several years. This time round he is half of the Stage Managing team and excerpts from his new band's first CD complement the original score.

We had previously collaborated on choreography, but this was the first time either of us had collaborated on a script. Many times the process of writing was as painful as the caregiving itself, and there were moments when we were on the edge of abandoning the project. The script is still evolving as we integrate elements previously left on the “cutting room floor”.

LR: Can you speak a bit about the other ways and places Let's Play House has been presented and performed?

J&C: We have performed LPH at the Fringe (Edmonton), at a rented venue (Toronto’s Wellesley Street Theatre), at churches and as the keynote presentation at conferences and AGMs for the Ontario Federation of Cerebral Palsy, the Festival of International Conferences on Caregiving, Disability, Aging and Technology, and others.

LR: Why did you choose to participate in the Toronto Fringe with this work?

J&C: The Fringe exposes our work to audiences beyond our fan base or outreach channels. Our caregiving was restricting our freedom to travel or even organize a theatrical run in Toronto. Kirk moved out on his own last year. Christine moved into a nursing home in March. Now we take the world – starting in, and always returning to, Toronto.

Let’s Play House

Presented by Imagiscape

Director: Dennis Hassell

Choreographer: Carlynn Reed & Jonathon Neville

Cast: Carlynn Reed & Jonathon Neville

Genre: Drama, Dance

Venue 6 George Ignatieff Theatre

60 min.

Fri, July 8 8:45 PM

Sat, July 9 1:45 PM

Sun, July 10 3:00 PM

Mon, July 11 10:15 PM

Wed, July 13 5:45 PM

Sat, July 16 12:30 PM

Sun, July 17 7:30 PM

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee).

Several money-saving passes http://fringetoronto.com/fringefest/passes are available if you plan to see at least 5 shows

Friday, July 8, 2011

Kendra Hughes and Kinetic Elements: 2011 Toronto Fringe Festival Dance Interviews




Kinetic Elements returns to the Toronto Fringe for an exploration of social issues including the protests at last year’s G20 summit. Artistic director and choreographer Kendra Hughes answers some questions.


LR: This is your second time doing the Toronto Fringe? What draws you to the Fringe Festival?

KH: The Toronto Fringe Festival is a fast, fun and great way to introduce your company to audience that you might not otherwise reach. It is an amazing opportunity to produce a show as an independent company. We feel incredibly lucky to participate two years in a row!

LR: For those who have never seen your work before, what would you say your work is all about?

KH: My work is a fusion of dance styles. My dance background includes a collection of styles; I started in modern dance, graduated college in a ballet based program and worked professionally as a hip hop dancer. All of those disciplines contribute to my current work now. This year my focus was to communicate issues that are important to the [Toronto] community through dance.

LR: reSURGEnce has to do with a lot of social issues and seems to be very focused on some of the specific issues in Toronto. I'm intrigued about dealing with the G20 summit through dance: how have you approached this?

KH: The choreography for the G20 piece has been a year in the making almost. At first the inspiration for movement came from watching videos on YouTube of people that were involved in the G20 protests. From there we participated in the workshop Series 8:08 Take Two program, where we were able to get feedback twice from the experience. Over time I have had many conversations with the dancers about the event and about the characters they will play. As the final touch, we had someone come in to teach the dancers some fight choreography.

LR: What is your musical score for this show and why?

KH: The musical score this year is varied between instrumental techno tracks to ambient sounds to no music at all. Each track was chosen by the choreographer to fit the feel and theme of each individual piece.

LR: What is the narrative thread to your show --is there a narrative thread? How is it all put together?

KH: The show is connected through the common thread of social issues. There are pieces about beauty, the loss of control one feels when they are labeled and the G20. Together they make our show reSURGEnce.

Kinetic Elements Presents:

reSURGEnce

as part of the Toronto Fringe Festival

Where: Factory Mainspace Theatre

125 Bathurst St Toronto

When:

Saturday July 9 @ 9:15pm

Sunday July 10 @ 1:15pm

Monday July 11 @ 8:30pm

Wednesday July 13 @ 3:30pm

Thursday July 14 @ 11:00pm

Friday July 15 @ 4:00pm

Saturday July 16 @ 2:15pm

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee).

Several money-saving passes http://fringetoronto.com/fringefest/passes.html are available if you plan to see at least 5 shows.

Thursday, July 7, 2011

metamorphosis dance theatre at the Toronto Fringe Festival 2011




metamorphosis dance theatre tackles some meaty and mature material about identity and discovery with some nods to the great Broadway choreographer Bob Fosse, modern and hip hop dance styles. One of the creators and performers Tyson James answers a few questions.

LR: What is your show about?

TJ: Simply put, discharge is the coming of age story for two men. Each is struggling in their own way with two dual aspects of their identity and it takes a moment of discharge and each other to discover their true selves. "In this final moment,discharge all that you once were, discharge the limits of today, and discharge all that you will become lovingly into the future."

LR: What made you want to participate in the fringe?

TJ: The Fringe is an exciting and truly unique festival. Its lottery system is the ultimate equalizer. As an artist you are free of judgment and scrutiny, because your selection is left entirely up to chance. Company founders Paul Charbonneau and Tyson James knew that metamorphosis dance theatre was going to create challenging and provocative work and in its infancy a festival without a panel of adjudicators has been a dream come true.

LR: How have you and the other collaborators come together for this project?

TJ: discharge was originally presented at Buddies in Bad Times Theatre under a different name as part of the Young Creators Unit in 2010. Paul Charbonneau and I (co-founders of metamorphosis dance theatre) knew that with our premiere work we wanted to discuss identity as it relates to gender and sexuality for queer men in Toronto. Expanding the original piece seemed a perfect fit for the company and for the context of Toronto Fringe.

LR: I understand there is some sexual content and nudity in the show, how do you approach this as a creator and/or performer? How have you reached a level of comfort with these elements?

TJ: It's been important to create a safe space in rehearsal and metamorphosis dance theatre has challenged its artists to be brave in the studio, to push themselves and dare its performers to go places they haven't gone before.

The specific sexual content in discharge is there because it belongs there and is integral to the telling of this story. In this way, any nudity or challenging sexuality is free of shock value because it appears solely in order to reveal something about the characters you are meeting on stage.

LR: What are the dance forms or techniques or movement inspirations for metamorphosis dance theatre?

TJ: Specific to discharge the company is using a wide range of dance forms, from traditional musical theatre vocabulary in honour of the late, great Fosse to raw and challenging modern contemporary. We've thrown in a little hip hop to really shake things up. metamorphosis dance theatre has members from a range of theatrical backgrounds and resident choreographer, Paul Charbonneau, has been challenged to adapt to all sorts of facilities and abilities to create a diverse yet unified dance aesthetic.

metamorphosis dance theatre

discharge

Direction & Choreography: Tyson James and Paul Charbonneau

Cast: Tyson James and Paul Charbonneau

Genre: Drama, Dance

Warning: Strobe Light, Smoking, Nudity, Sexual Content, Graphic Violence, Mature Language

Venue 9 Robert Gill Theatre

60 min.

Fri, July 8 9:15 PM

Sat, July 9 4:00 PM

Sun, July 10 5:45 PM

Tue, July 12 1:00 PM

Wed, July 13 11:15 PM

Fri, July 15 9:45 PM

Sun, July 17 2:45 PM

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee).

Several money-saving passes http://fringetoronto.com/fringefest/passes are available if you plan to see at least 5 shows .


Tuesday, July 5, 2011

Cendrillon at the Toronto Fringe Festival 2011


“A poor girl and her ugly step-sisters are totally, wildly obsessed with a boy. When the invitation to his Bar Mitzvah arrives, they must transcend their tween styles and outshine each other for his attentions.” Patricia Allison and Kevin Michael Shea contort the Cinderella story….Get ready: they are also doing Summerworks!
 Patricia and Kevin answers some of my questions below.

Lucy: You are doing the double play in Toronto this summer with a Fringe show and a Summerworks show in fairly close succession: Is that madness for you? How are you finding the preparations?

Kevin: It's definitely intense, but in both cases I have great collaborators who take care of a lot of what my job would normally be on a show. Cendrillon is dance-theatre, and I'm able to rely a lot on choreography. Hero & Leander [for Summerworks] is a musical theatre piece, and I'm able to rely a lot on the songs. If both shows were dialogue driven plays that I was both writing and directing, there's no way I'd be able to do both, but since the writing and directing are pieces of a larger puzzle it's far more manageable.

Lucy: with Cendrillon you are remixing the traditional Cinderella story. What is your adaptation and how did you decide on the direction to take with it?

Patricia: Cinderella was a story that both Kevin and I have always had in the backs of our mind to work with one day. We enjoy the themes and the character potential that it has to offer.

Kevin: Like most fairytales or myths, it's a great lens through which to look at various aspects of society and culture. Our show looks at issues of sexual insecurity and anxiety, as well as sibling dynamics. It's also about being twelve years old. So instead of going to a ball, Cendrillon goes to a bar mitzvah, and instead of a prince charming, it's just some boy all the girls have a crush on. Hopefully making the characters so explicitly young will help people see the story with fresh eyes. And combined with the fact that it's set in a very contemporary world, it also makes it quite a bit funnier than the original story without sacrificing any of the meaning.

Lucy: I am a lover of fairy and folk tales myself, so it may be a bit of a loaded question for me to ask: why do you think these tales offer endless possibilities for adaptation?

Patricia: I think they offer endless possibilities for adaptation because they are nice and basic stories based on simple morals and story structure. It gives you a lot to play with and to interpret.

Lucy: In a few sentences can you tell me about your choreographic process?

Patricia: This process in particular was different than most I have been a part of before due to the fact we are trying to blend text and choreography together. Some of the scenes of the show are text driven, so we allowed the text to lead the way and other elements of the plot come from choreography only. The story was the main driving factor so all movement has been based around advancing plot.

Lucy: What do you hope for from your Fringe experience?

Patricia: The fringe experience we were looking for was really an excuse to try this collaboration out together. It has already begun for us in the sense that the process itself is what we were hoping for. We are now excited to get it in front of an audience and see how it is received and to see what kind of feedback we get. We hope to have a lot of fun!


Cendrillon

Presented by Lastname Firstname Productions and Common Descent

Director: Kevin Michael Shea

Choreographer: Patricia Allison

Genre: Play, Dance

Warning: Sexual Content

Mature Language

Venue 1 Tarragon Theatre Mainspace


60 min.

Fri, July 8 5:15 PM

Sat, July 9 7:30 PM

Mon, July 11 1:00 PM

Wed, July 13 11:00 PM

Thu, July 14 11:30 PM

Fri, July 15 Noon

Sat, July 16 6:15 PM

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee).
Several money-saving passes http://fringetoronto.com/fringefest/passes.html are available if you plan to see at least 5 shows.


Monday, July 4, 2011

The Collection and Lady Janitor: Dance at the Toronto Fringe Festival 2011


The Collection and Lady Janitor are the brainchildren of Jasmine Graham and Eroca Nichols respectively and they've teamed up for a shared program at the Toronto Fringe Festival in Feathers vs. Fauna. Creative, funny and hardworking, these emerging voices in the Toronto dance scene answered a few questions for me.

LR: Ok, Feathers vs. Fauna: tell me a little bit about each piece, what is the show about?

JG: Aviary is a duet performed by Emily Poirier and Jasmyn Fyffe. We created the work collaboratively, working with improvised sound scores that the dancers created in order to generate the movement material. From there, I selected movements and arranged them into phrases, removing anything that seemed unnecessary or out of place in an effort to figure out the logic of the piece and build a cohesive language and structure that would make sense to an audience. I believe that dance is a visual art and my dances are a reflection of that; Aviary doesn't have a linear narrative and it isn't really about conveying a specific idea to the audience. It's about creating a beautiful, fantastical world filled with tragedy, contradictions and humour. I like to leave most of the interpretation up to the audience, they are an integral part of the piece.

EN: My family is a band of outsiders—or at least this is the collective persona that we have cultivated since I can remember. We moved a lot— we’ve lived in trailers, apartments, houses, basements, motels, in Alberta, Arizona, British Columbia, California, Nevada, Ontario, and Saskatchewan; my sister and I attended over 9 schools by the time we entered high school. Our nomadism extends beyond the road; my mom had a tarot reading that led us to legally change all our names—first and last-- when I was three. We’ve remained somewhat liquid in the identity department. We’ve had little money. We’ve driven across deserts, mountains and prairies. We’ve broken down. We’ve never quite fit in. We’ve stuck together even when we haven’t. The Deer In Head Lights Sideshow/Slideshow is a solo exploring my family’s collectively generated narrative.

LR: Eroca, with Lady Janitor your work is known for its zany humour -- where do you think that comes from?

EN: I’m kind of a funny lady. Lately I've been on a mission to get contemporary dance to take itself a bit less seriously. Deer in Headlights is a bit darker. It is based on stories from my own personal narrative. It's not with out humor but it's definitely the most emo work I've ever made.

LR: Jasmine -- I've known you primarily as a dancer. What fuels you as a choreographer?

JG: As a choreographer I'm fuelled by the dancers I work with and images that I develop before or during the piece. Sometimes I begin with a clear image of a costume or set or spatial relationship that I want to develop or create, and other times I have no idea what I want or what will happen, and I just work and watch the dancers work until I see something that I think could be further explored. I love to work collaboratively with the dancers; it is so exciting to watch a dancer perform material that they created and/or developed because it is so believable for the audience.

LR: How many dancers are involved in this show and how have you each selected them?

EN: The Deer In Head Lights Sideshow/Slideshow is a solo and I'm dancing it. This is a first for me--normally my work involves huge herds of humans. I’m making myself nervous. Come! You’ll laugh, you’ll cry, you’ll line dance!

JG: I chose to work with Jasmyn and Emily because they are both amazingly talented physical, open, honest and trusting dancers. They are also good friends and there is nothing better then creating with friends. We have created a really safe, open and honest atmosphere and I think it's a lot easier to create and take chances and make mistakes when your work environment is like that.

LR: What do you each hope audiences will get from seeing Feathers vs. Fauna?

EN: A warped family portrait that highlights the fact that all our families are strange and we love them.

JG: I can only hope that the audiences who come to see Feathers vs Fauna will leave transformed in some way, that is the ultimate honour for creators in my opinion.


The Collection and Lady Janitor present

Feathers vs. Fauna

Director: Jasmine Graham, Eroca Nicols

Choreographer: Jasmine Graham, Eroca Nicols

Genre: Dance, Physical Theatre

Warning: Audience Participation

Venue 10 Theatre Passe Muraille Mainspace


60 min.

Fri, July 8 3:30 PM

Sun, July 10 9:15 PM

Mon, July 11 7:00 PM

Tue, July 12 2:45 PM

Wed, July 13 4:15 PM

Fri, July 15 12:30 PM

Sat, July 16 8:45 PM

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee)
Several money-saving passes http://fringetoronto.com/fringefest/passes.html are available if you plan to see at least 5 shows.


Saturday, July 2, 2011

Interview with Janet Castillo of Catalyst the Company: Toronto Fringe Dance Interview

With dancers and creators from a wide range of styles and experiences, Catalyst the Company presents The 5th Element in this years Fringe Festival, working through earth, water, fire, air towards something more personal and unique: what isyour element? Company director and dancer Janet Castillo answered a few questions.

Catalyst the Company










LR: Catalyst the Company has a lot of industry/commercial experience; what made you decide to do the Fringe?

JC: As performers and choreographers, we’ve been lucky enough to bring to life the visions of many people leading the industry/commercial world. After years of doing so, we returned to Toronto and felt creatively stagnant and started talking about our own stories, obstacles, and experiences on our path.

We wanted a platform to share these stories and to show how incredibly diverse we were. Through that, The 5th Element was born and was premiered last May. The Fringe Festival was a perfect opportunity to re-mount the show for a larger audience and to shine light on the talented performers we have at home (right here) in Toronto. We continue to be involved in the industry/commercial world, but know that we have a responsibility to create works that reflect our own voices and the voices of this city.

LR: What is your show all about?

JC: The show is all about finding your own Element - Your own unique gift in the world. Each of our dancers is unique and has come together to build this show. The 5th Element takes audiences on a journey across the elements of life (Earth, Water, Fire, Air), while celebrating the multi-cultural and diversity of Toronto through dance, music, and spoken word. We mash up the freshest mix of urban, classical, and cultural dance to create a new movement in of itself.

LR: How have you adapted the four elements into dance?

JC: Through the rumblings of the earth, to the emotional depths of the rain, to the burning heat of the fire, to the flying freedom of the air…(from our press release).

EARTH - Representing “the heartbeat” of the show, this element showcases the organic and pulsing rhythm of house, latin, tribal, and hula dance as the performers are called to their mission.

WATER – Representing “the obstacle”, this element showcases the emotional depths of movement in contemporary, soul, and ballet as the performers courageously face their own personal battles.

FIRE - Representing ‘the burning heat”, this element showcases the bold, fresh, and in-your-face energy of hip hop, martial-arts and flamenco-inspired movement as performers are filled with passion and the determination to fight back.

AIR – Representing “the flying freedom”, this element showcases the uplifting and moving hybrid of contact improvisation, jazz, ballet, and more as performers find clarity in their gifts and set forth into the future to inspire change.

LR: And the 5th element?

JC: The 5th Element is a new movement in itself. It’s un-definable, infinite, and always transforming. It’s when we take all the elements and selflessly bring them all together. In the original company, there were 5 of us and we each represented a different element. We created pieces by doing a lot of improvisation and experimenting with our styles. We’ve been told that the movement in our show is truly hybrid in its form (without feeling too manufactured or contrived), and combined with our costumes and storytelling, it has inspired audiences to new heights in their own lives.

LR: What do you hope audiences will experience in seeing The 5th Element?

JC: We hope that they will be inspired to find what their own Element is, andto go out and share it with the world! We truly believe that as Catalysts, we are here to boldly ignite others to feel what we feel as artists and to spread the movement to as many people as possible. We want people to feel the range of their raw emotions from passion, to struggle, to seduction, to excitement and elevation. Quite simply…we want to make the world dance…even if it’s just in the rhythm of their hearts.


The 5th Element

Catalyst the Company

Director: Janet L. Castillo & Natasha Powell

Choreographer: Janet L. Castillo, Natasha Powell, Tiff Mak

Genre: Family, Dance

Venue 3 Bathurst Street Theatre

60 min.

Wed, July 6 10:30 PM 303

Sat, July 9 11:00 PM 319

Mon, July 11 4:45 PM 328

Wed, July 13 9:15 PM 343

Thu, July 14 1:45 PM 346

Fri, July 15 Noon 352

Sat, July 16 7:30 PM 363

All individual Fringe tickets are $10 at the door (cash only). Tickets are available online at www.fringetoronto.com, by phone at 416-966-1062, in person at The Randolph Centre for the Arts, 736 Bathurst Street (Advance tickets are $11 - $10+$1 convenience fee)

Several money-saving passes http://fringetoronto.com/fringefest/passes.html are available if you plan to see at least 5 shows.