Friday, July 29, 2016

A riot of FUN: Helen Simard's creation NO FUN at Summerworks

Helen's Simard's work NO FUN is brash, loose and incomprehensible and all of those things in the most intriguing, fun way.  NO FUN is coming to Toronto next week as part of the dance portion of Summerworks Festival, curated by Jenn Goodwin.  Helen is one of the spunkiest, coolest ladies I have met in the course of my career. On stage she has an infectious and beguiling presence, a riot of ease, smarts and spontaneity.

As she answered my questions on her voice as a choreographer, you can also witness the considered thought that goes into crafting her fast and loose work.

LR: "Brash" is a word used in your promotional material for NO FUN. What does brashness mean to you?

HS: First thoughts: raw, shameless, unforgiving, uncompromising, self-confident, perhaps even rude. 
Beyond this: not being concerned with what one should be or do, just being and doing what one is, unashamedly.

LR: What was the trajectory leading to making NO FUN? How did the rock show subject matter become important or compelling to follow for you?
HS: I've always loved watching musicians move. There's a lot of interest in dance in "pedestrian" movement, but the way musicians move might not be "dance", but it isn't pedestrian either. It's this weird kind of movement that is half functional and half performative and totally unlike dance vocabulary. And I find singers particularly interesting because singing, like dancing, is an art that is made primarily through the body. And there's something about early punk singers in particular that's appealing so raw, so physically engaged, so disinterested in beauty or perfection. Something that's real and totally in the body.
I got into watching videos of Iggy on YouTube, and was like, my lord this man can move. Snakey spine, sexy hip swivels, sensual back bends, disturbing grimaces... so much inspiration. And his music! Thinking that he came out of the 60s, when everyone else was talking about peace and love, to show the gritty, grimy, dirty side of life. Beautifully unsettling sounds that gnaw at the soul. 

So I thought, what if I made a show that took Iggy—his work, his persona, everything—as a starting point? What kind of material could I find if I dug through his career? Could the way he moved be transformed into dance and woven into a kind of choreography? And if so, how would the music and movement find a way to coexist on stage in my show, the way they did in his performances? That was the starting point of my research with NO FUN.

What eventually became interesting or compelling to follow with the work was not creating a caricature of Iggy, but finding a way to summon the kind of trance-like energy that he creates. My interest shifted from looking at him as just in your face or provocative, but rather seeing how he pushed himself and others to the limit in order to create a strange kind of closeness or togetherness. The interest isn't in pushing the audience away, it's in bringing them in, in shaking things up to create a cathartic release. So the show becomes a journey through a number of emotional states, passing through confusion and chaos to enjoy moments of stillness and clarity.

LR: Can you tell me what drew you to the artists in your team or how they became involved?
HS: I work pretty intuitively when it comes to casting my performers. I never hold auditions or anything like that. I just think of what my show might be and try to let the show tell me who is in it. The show usually knows what it needs more than I do. 

For the dancers, I chose them because they all reminded me of Iggy somehow. I knew Stephanie Fromentin from my masters at UQAM, and she's got a smarmy kind of sense of humour mixed with just the right dose of grit that she balances with a calming physical elegance. 

Emmalie Ruest embodies Iggy's "j'm'enfoutisme", an expression in French that translates roughly to "I don't give a fuckism"... she's the one in the show that looks like she might go off the rails at any minute. It's kind of scary and hypnotic all at once. 

Justin Gionet is a new addition to the cast, he's replacing Sebastien Provencher. It's hard replacing a dancer... what I mean is that because I work so much in collaboration with my performers in creating the work, I can't so much replace someone, but rather have to figure out what someone else could bring to the work. Justin brings a youthful charm, some awkward postures, and he can jump like a freaking ninja... so was happy to bring him on board!
The musicians were another story. When we started the creation, I was working with my husband's (Roger White) band, Dead Messenger. They're guys I've worked with for years. Over the course of the creation, two of the guys in the band had to drop out of the project because of other commitments, so only Roger and Ted Yates are left in the cast from Dead Messenger. Rémy Saminadin came in as our new drummer; he's more of a jazz drummer and percussionist than a rock drummer, and does a lot of weird improv work, so he brought a crazy spacey vibe to the show that wasn't there before. Todd Tolls is a Toronto-based bassist (that sounds funny ha) jumping on board just for SummerWorks, he's a guy I've known for more that 20 years, killer musician and great performer

More than anything, though, what I love about my team is how much fun we have together. I was part of a collective for 12 years (Solid State Breakdance) and feel that one thing I learned from that experience is that when artists have fun together and enjoy their work environment, the work is better! Despite the show being called NO FUN, we're always laughing in rehearsals. I freaking love my team.

LR: One of the things you say about your work is that it looks at the beauty in failure. I  love this idea: beauty in failure. Do you have a sense of why that is important to you in making performance works?
HS: I think we spend so much time planning how we want things to go, and trying to control what happens, on stage and in life. But failure is all around us. We can't stop it. Things fall apart all the time and don't go the way we plan. I think that if we accept that, amazing, beautiful moments can emerge from these little failures, moments that we never could have imagined or engineered.  Who would want to read a book or watch a play where everything goes well? "Helen got up in the morning, brushed her teeth, went to work, did a good job, came home and ate a delicious dinner then went to bed and got 8 hours of sleep. She woke up the next day perfectly rested and did the exact same thing". That's so boring. But hey, throw in a car crash or a nervous breakdown and all of a sudden we have something to talk about. 

When I'm creating, I try to come into the studio with a starting point and a direction in mind, but never with an idea of where we're going to end up. I like give my performers impossible tasks or scenarios to work through. "Jump while you're lying on your back and while you climb into this bag I gave you and can you pull your underwear over your head at the same time? Don't pretend to do it, do it.  All of it." I know it won't work. But trying to make it work and failing horriblly yields amazing things, beautiful strange things I could have never imagined.  Things that are very vulnerable, very human finally, perhaps less calculated and more honest.
LR: Similarly  in creating what is ‘difficult to understand’ (another phrase from you use to describe your work), what is your value or reason attached to that? It is really brave given the climate surrounding contemporary dance or performance lately, the myth (or maybe it’s not a myth) that audiences fear not being able to "get" contemporary dance?

HS: There is so much fear involved in not understanding things. I think it's one of the things that we as humans are most afraid of. We create our world through attaching meaning to the things we see, do, and interact with everyday. So experiences that we can't easily digest and label can be unsettling. Same goes with art, a lot of people want to know right away what the work means, to be able to latch on to something concrete that helps them situate what they are seeing or experiencing. 

But if I think about the work that has touched me the most or stayed with me the longest, it's rarely work that I was able to understand right away. Because as soon as I understand, I'm free disengage and move on to something else. I GOT IT. NEXT. But when I don't understand, I'm forced to engage with what I've seen or experienced, to situate myself in regards to what has been put in front of me. I'm forced to face my expectations and what I take for granted in a performance setting. And I might not always LIKE that, but I'll stay connected to what's happening in front of me. I can't tune out.

Art is a space to escape the pressure of understanding, a place where it's ok to not "get it". Especially an art form as abstract as dance. Why would I use movement to say something concrete when even words can be confusing or misleading? What's beautiful about dance to me is that it can take us out of the realm of the conscious and the concrete into something more visceral, more affective, something that can't be described. To a new way of seeing and being in the world. To a place that is outside logic or reason. So my show is inspired by Iggy Pop, but it's not "about" Iggy Pop... really in the end, it's not about anything really, except what the spectator takes away from the experience.

Go have NO FUN with Helen and her amazing team!
If you need more reason check out the trailer:

part Summerworks Festival 2016
Factory Theatre Mainspace
125 Bathurst Street

Thursday Aug 4th 9pm
Friday Aug 5th 10:30pm
Saturday Aug 6th 4:15pm
Sunday Aug 7th 1:15pm

Tickets $15 or check out the multi-show pass deals

all photos of NO FUN by Frederic Chais, courtesy of Helen Simard
photo of Helen Simard by Nikol Mikus

Tuesday, July 19, 2016

Blue Ceiling dance and the High Park Nature Centre announce a 2017 collaboration!

Blue Ceiling dance is thrilled to announce a partnership with the High Park Nature Centre for a new dance production in April 2017.

Blue Ceiling dance will be staging and premiering Animal Vegetable Mineral in the historic Forest School, the High Park Nature Centre's new home on the grounds of High Park.

Animal Vegetable Mineral is an ensemble dance work in which the dancers' bodies are ecosystems built on imagery related to the basic building blocks of life: animal, vegetable and mineral. These embodied ecosystems interact and collide, highlighting the interdependence of all life on earth. The cast includes choreographer Lucy Rupert and a diverse range of Toronto's most compelling contemporary dancers.

Blue Ceiling dance aims to enrich audience experience through imaginative staging, setting dance works in unusual ways and places that are integral to the source of inspiration. The High Park Nature Centre is an exquisite and historic building set in a beautiful environment.

"Rupert is a choreographer with an immense imagination. She is not afraid to make the audience work a little, which is a good thing."  Paula Citron, Globe and Mail

photo of Bee Pallomina, Jennifer Bolt and Lucy Rupert in  Blue Ceiling dance's 11 x forgetting
photo by Jeremy Brace

Through artistic brainstorming, outreach and engagement activities in partnership with the High Park Nature Centre staff, we hope to introduce new people to the High Park Nature Centre and new people to contemporary dance, in a way mirroring the interaction and interdependence of ecosystems.

Also partnering with Blue Ceiling dance is the Dance Umbrella of Ontario as Blue Ceiling artistic director Lucy Rupert won the #DoItWithDUO contest earlier this spring.

Sky Fairchild-Waller, Lucy Rupert, Peter Quanz and Elke Schroeder in Blue Ceiling dance's dead reckoning
photo by Omer Yukseker

The High Park Nature Centre is a non-profit organization that was established in 1999. The centre promotes awareness and respect for nature through outdoor environmental education and park stewardship. Nature Centre programs inspire a sense of wonder, knowledge and respect for High Park's natural systems; restore human connections to local plants and animals; and engage children and families in ecological restoration activities to ensure a sustainable future for High Park for generations to come.

The High Park Nature Centre serves a diverse audience from across the Greater Toronto Area, including children, families, elementary and secondary school students and teachers, ESL schools, day care centres, Girl Guides and Boy Scouts, community centres and recreational programs. Through the Nature Centre's programs, over 70,000 participants of all ages have been able to "give back" to High Park through park stewardship activities like planting native grasses, wildflowers and sedges or removing invasive plant species.

Blue Ceiling dance is a contemporary dance and multi-disciplinary performance company operating in the not-for-profit model. Led by choreographer/performer Lucy Rupert, the company aims to reveal the virtuosity of the body that is born of the imagination, while investigating the relationship between scientific and artistic processes. Repertoire has toured throughout Ontario and to Montreal, New York and Stuttgart Germany. Blue Ceiling dance maintains a firm connection to arts advocacy and engagement by holding affordable and free events such as open rehearsals, community performances and movement classes for professional dancers, musician, designers and anyone who enjoys moving.

photo of Lucy Rupert in High Park by Jeremy Brace

Artistic director Lucy Rupert's parents were conservationists who co-founded the Lambton Wildlife Association, and her childhood was spent rehabilitating hawks and owls in the garage, raising butterflies in the bathroom and birdwatching the spring migration at Point Pelee National Park (where, not coincidentally, her older sister Sarah Rupert now works). With a long son now, Lucy's drive is even stronger to connect her art form and her audiences to love, respect and protective spirit for nature and the environment.

"The time flew by and I did not want it to end. I could've watched Rupert all night." Madeline Copp, Mooney on Theatre

More details on Animal Vegetable Mineral will be released soon. In the meantime any inquiries can be directed to:

Lucy Rupert, Artistic director, choreographer and dancer
Blue Ceiling dance

Friday, July 8, 2016

ps: We Are All Here -- Interview #2/3 Jenn Goodwin and Syreeta Hector

The second instalment of ps: We Are All Here Festival artist interviews is a compilation of Q&As with Jenn Goodwin and Syreeta Hector who share a program with the team of Alexa Mardon and Erika Mitsuhashi tonight July 8th at 8pm.

If you are up for an evening of dance in the city you can check their show out, stay for the afterparty and then jet over to Factory Theatre for the 1130pm show of "little fires", the Polynomials/Blue Ceiling dance production that is part of the Toronto Fringe Festival. You will not be sorry for going to either show.

Jenn Goodwin is an artist I've admired for a long time and she was the second choreographer I commissioned through Blue Ceiling dance to make a solo dance for me. During the process I broke my arm and Jenn, in her usual quick-thinking and apparent love of accidents and minor, mundane catastrophes reshaped her work to acknowledge the broken bones in a way that freed us both as collaborating artists and made an unforgettable contribution to the production, coincidentally called "11 x forgetting."

From that experience I learned not only is Jenn the coolest chic in Toronto dance, but she is also deeply compassionate, able to make ideas and challenges coalesce in charming and compelling ways and she never denies the reality of the moment in the process of making art.

Here's a quick interview with this awesome lady, Jenn Goodwin.

LR: Your work often involves mistakes, accidents, repetition — what do you think makes this an undercurrent through out your work? I often think of your work in a “groundhog’s day” prism — in the best way possible.

JG: I think I work with these themes because they are rich in humor as well as quite sensitive and touch darker sides of human nature. I like to mine these areas for content that lay within ones own, and others mistakes "failures" and accidents, and what we even choose to see as mistakes or failures vs. a path, process or journey steeped in real life. 

There is equal part fear and acceptance for me of inevitable stumbles and awkwardness, knowing there are teachings, fragility, heartbreak, pathos, humility, resilience, growth and grit within these places. I like looking at the drama, vulnerability and triumphs in the everyday and the repetitious realities of our day to day, magnifying it through choreographic tools. 

LR: You’ve been in school this past year — how does it feel to be away from that and creating for a dance festival?

JG: I am loving school. I'm feeling very lucky to be able to go back to school and be a student (officially) at this phase of my life. I was hungry for new information and experiences. But it is also great to have a bit of a break from the books and be more in my body as I think my brain was about to explode. 

This solo is really new and still in progress and performing work pushes it into new places, and makes shit get real fast, so I'm grateful for a chance to show it and get some feedback also. And the Lovers (the TO Dance Community Love-In directors) are truly lovely and really caring and smart curators and producers.  Love those Lovers!

LR: How do your studies impact your creative process — am I right in thinking that you are studying something related to museum/curatorial studies? 

JG: I am going into my second year of Curatorial Studies at The University of Toronto.
I think being in school encourages me to slow down a bit and go deeper into my research. To spend more time thinking and being, rather than all doing. It has been a year of learning about learning and following new threads. The library is my new favorite hang out. It’s so quiet!

LR: after many years of creating, performing, curating, organizing, making films, events, babies, studying, and moving through health challenges, what keeps you at it? So many artists answer this by saying “because I'm an artist and that’s what we do.” which is totally valid, but I think there’s something more to it, there are specific things that draw us back to the fire…

JG: I tried to give up dance once or twice in my life, because I was broke, or thought I was toiling away in obscurity - and just thinking about not having dance in my life was upsetting and I couldn't step away from it, thankfully.  I am glad I stuck it out, while also expanding my skills so that I can make a living in the art world from multiple angles. 

I love producing and curating and trying to support artists’ visions and endeavors, and my own performance and dance has taken me across the globe and given me a voice. It has connected me to a truly generous and incredibly talented community and I met many of my besties in dance classes or on dance floors. 

Also I have to give a lot of credit to my husband who has always had my back through motherhood and health issues to get back in the game/studio/stage/dance floor etc. 

LR: What is your dream project — in any or all of the wonderful avenues you work?

JG: So many! Dance, film, curation, independently, in institutions. Let’s see, I would like to take over a site like a home or school, or somewhere like AGO’s Education Commons with those huge multiple tables, and invite artists to take the narrative or structure of the space as the common ground but activate it with their own concept through performances and installation.  It may end up to be my home! I’ll keep you posted.
Oh and another one comes to mind…

I've been working on a documentary about back up dancers on and off for years but I haven't been able to get it off the ground yet. Reading Patti Smiths- M train, she notes her late husband Fred “Sonic” Smith says "not all dreams need to be realized" and I wonder if this project will be one of those or it will one day come to fruition. 

But even the research to date has been so exciting and I got a chance to interview many inspiring people like Venetta Fields- one of Tina Turner’s first back up dancers, Cheryl Cooper (Alice Cooper’s wife), Daisy Press- choreographer for Chromeo, Santigold’s dancers and Toronto’s own Gadfly. 

And in particular the S1W- who are Public Enemy’s "back up dancers.” Though they don't go by that title and told me not to call them that, in a very kind way :) They said in their 25 years in the band this was the first time they were asked for an interview. I was floored. I hope to revisit the conversation. 

But really, I feel like just doing what I'm doing is pretty damn dreamy.


The second half of this post is a rapid fire Q&A with Syreeta Hector whose work Identity will be performed by Jesse Dell and Peyson Rock. A powerful dancer, no doubt her creative fire holds that same strength. I am excited to see her choreography. And I wish I'd asked her even more questions.

LR: What interested in you in making a work about the space between or the distinction between performer and person, the identities embedded in these aspects of self?

SH: Even when we aren’t portraying a character while dancing on stage we are practicing our “performance” self. This self is different from how we act at the grocery store. Is there a connection between my grocery store self and performance self? Or are they totally different? 

LR: After years of being known primarily an interpreter of others’ work  what aspects of yourself do find illuminated through choreographing/creating?

SH: I find that my personal experience and movement history comes through in my work. At one point in my life I was discriminated against because I enjoyed ballet and am black. The fact that I've trained in both ballet and contemporary dance is jus as much a part of who I am. This type of movement is embedded in my bones. 

LR: What are you drawn to most in creation — ideas, form? tasks, states of being? imagery, transformation?

SH: Patterns. Lines. Repetition. Fast physical movement.

LR: What does the inclusion of Identity in the ps: We Are All Here Festival by the TO Love-In mean to you and to the work — where do you think the work will go next?

SH: The Love-In is awesome. It supports local work that can speak to both positive and negative aspects of our Canadian performance community. It's also invested in bringing artists from around the world into our local dance community. The people who run it are fearless!

I’d like to extend this piece. In dance I feel like we often avoid the idea that gender assumptions, racism or even shadism lives within our community. Sometimes we think these divides exist in far off America! Activism movements to highlight black lives and Indigenous inequality are coming to the forefront, but holy shit what year is it?

LR: What is your dream project/job/work situation/life in relation to dance?

SH: Good question…That answer is always changing. 


See them tonight!
Alexa Mardon and Erika Mitsuhashi
Jenn Goodwin
Syreeta Hector

July 8th 
All performances start at 8pm, doors at 7:30pm
360 Geary Ave

Friday night parties from 10pm-2am.

Tickets at Eventbrite or at the door.
General admission: 1 evening $15, one week pass $25, two week pass $45
For more information:

Tuesday, July 5, 2016

ps: We Are All Here festival -- Artist interview #1: Alexa Mardon and Erika Mitsuhashi

Ps: We Are All Here is the Toronto Dance Community Love-in's performance festival with an aim, it seems to me, of exposing we lovers of contemporary dance/performance to a range of approaches, to artists with innate freshness to their work whether emerging or established creators. Overlapping with the Toronto Fringe Festival, (which can be an artistic crapshoot, although this year's dance at the Fringe seems to be doing exceedingly well critically!), ps: We Are All Here offers a curated, well-crafted view of dance performance in the summer.

As I am involved in the Toronto Fringe Festival in the "little fires" production at Factory Theatre, so I could only cover a few of the imaginative artists included in the the TO Love-In's offerings this year. It might go without saying, but I'll say it anyway, they all have sparked my curiosity.

There is an embarrassment of riches to choose from in dance performances this week so indulge yourself!!

Info on the festival is here:

My first interview is with the artistic team of Alexa Mardon and Erika Mitsuhashi from Vancouver.  

LR:  In the description of your work New Beginnings you cite string theory and multiverses as inspirations I am fascinated by and an avid reader of all things theoretical physics and cosmology….what brought the two of you to string theory and multiverses?

AM: Erika and I began this collaboration by co-writing a list of all the things we were interested in at the time – images, sound, approaches, and performance situations that we wanted to explore. A mutual interest in this idea of shifting a sense of time within a performance led us to discover we'd both been nerding out a bit on this idea of the multiverse – via podcasts, a book called "Sum: Tales from the Afterlives" by neuroscientist David Eagleton, and the incredibly complex and absurd show Rick and Morty. 

EM: Ricky and Morty was the "big bang" or spark of our work...We started our collaboration with common interests and we soon realized that the associative chain we started all fell under the this LARGE idea of the multiverse.  The endlessness of this concept has been a wonderful fuel for our work together. 

LR: What brought the two of you together in the first place? What is your history, attraction, curiosity with each other as artists?

EM: Alexa and I have been getting to know each other on many different levels over the past few years.  First as interpreters in our mutual friends' works, then in professional choreographic processes and lastly as dear friends and collaborators.  Alexa is one of the most thoughtful artists I know and is one of the most effortlessly intelligent movers and  thinker that I have ever met.  

As we became better friends I was curious about her politics and socially minded work. She carries all of her knowledge in her presence and in her moving. As a collaborator she pushes our work to be multifaceted and to make art that resonates.  She is game to try anything and keeps us on track when I am on a tangent about a dream I had.  

AM: In a sense, we have spent the last four years collaborating in the way that dancers in a process come to understand how each dancer is working and approaching movement and creating relationships that way. I think that making work together has been a long time coming; Erika's brain works in a way unlike anyone I've ever met. 

I saw her solo work "this room has curved edges" at the Powell Street Festival in 2014 right after I'd gotten off a 13-hour plane ride from Taiwan, and after it finished, I sat in my seat and bawled until I could bring myself to thank her for her work. Erika's ability to flesh a complex concept into an incredibly clear image, and to run with something until it becomes absurd, funny, devastating, and then repeat the whole cycle again is something I selfishly knew I wanted to learn from her. 

Also, I think Erika experiences in her dreams what most people take acid to experience – many hours of our friendship have been spent sitting at the Alibi Room (our favourite bar in Vancouver) over beers as I listen with complete fascination to descriptions of the detailed, warped, and often prescient dreams she has on an almost nightly basis. It's wild, and the title of the piece, along with some other things in it, come from one of these dreams of hers. 

photo of Erika Mitsuhashi by Sepehr Samimi

LR: How do you approach what you refer to as the“sales pitch” aspect of this performance? 

AM: We invite the audience to join us as we attempt to do something that is probably impossible. There's an aspect of genuine desire to win the audience over in a way, and that's where the "pitch" part comes in. We are also highly aware of the structures of neoliberal, corporate consumption of immaterial or affective labour including that of artists, and the language creep that scares us. We are playing on this a little bit, but at the same time, this work means a lot to us, it's emotionally draining to perform, and we do want to "sell" it a little to the audience. Of course, not everyone will bite, and that's okay. Consent is important. We can hope you'll come along, but we can't will you to. 

EM: The sales pitch feels like it was a result of us attempting to bring the audience on a journey with us.  We have been developing ways to have the performance have genuine moments, along with the performative.  I think we walk a playful line between the different performance states and subsequently created this "pitch".  It challenges both us the performers and the audience to address the inherent consent in live performance that we are all in it together.  

LR: You also refer to “female affective labour” what does this mean to you in general terms and in the performance work?

AM: This is something I've been thinking a lot about lately. Of course, affective or more specifically, emotional labour, isn't something that only women perform. Many folks extend themselves energetically and simultaneously contract their presence either due to their social conditioning, or in order to survive the micro-violences performed on their bodies by white supremacist capitalist patriarchy (bell hooks' excellent term) or both. My lived experience of this type of labour is from a white, cis-female perspective, so that is where I'm speaking from around this term. In this piece, Erika and I are interested in how this invisible labour (which can show up as care, hosting, smiling, organizing) crosses over into the act of dance work, and the situation of performing, itself – the collapse between production and reproduction....I don't think we've fully addressed these complex ideas in the 15-minute working version we have now, and maybe we won't ever totally get there, but that's why this work excites me. 

EM: In this iteration, the female affective labour was alive in our bodies without us knowing at first.  We host, we ease the situation, we guide, we nurture, we smile and this list goes on.  We acknowledged that we were socialized to do these things and that's when we started the process of allowing it to have a place in the work.  It is rather layered and veiled with so many other things in our 15 minute excerpt but it is a subject that we plan to continue to investigate. 

LR: What interested or interests you in being part of the ps: We Are All Here Festival? 

EM: Alexa and I had been rehearsing once a week, mainly accumulating research.  We both had been desiring some intensive training and both planned to come to Toronto to learn from some Eastern Canadian movers and shakers.  The Love-In team inquired about us presenting a short excerpt of what we have been investigating and we started building this iteration.  We are both excited to present to a completely new audience and hope to gather responses that will inform the direction of the work.  I am so excited by the roster for this year's Love-in.  

AM: Yes, up until mid-May, Erika and I were content to get together and work every Sunday morning on New Beginnings, with no intent to show it or structure it until an opportunity we were interested in came up. We both registered to take the Love-In workshops, and when Kate emailed us to ask if we were working on anything, we knew we had to jump.  I'd attended the Love-In in 2013 and felt so welcomed by that dance community and impressed by the Love-In team's dedication to making things happen that they felt were missing in their city. It's a little strange that the first time we're showing this work is outside of our home city, but I think it's fitting, too. 

ps: We Are All Here
July 7-15, 2016
360 Geary Ave

Alexa and Erika perform on a program with Syreeta Hector and Jenn Goodwin
July 8th 

All performances start at 8pm, doors at 7:30pm
Friday night parties from 10pm-2am.
Tickets at Eventbrite or at the door.
General admission: 1 evening $15, one week pass $25, two week pass $45
For more information: