Forward Passage
May 4 - 6 & 11 - 13, 2006
National Spirit (1976)
Choreography: Danny Grossman
Music: American Anthems and Marches by John Phillip Sousa
Rehearsal Direction: Pamela Grundy, Eddie Kastrau, and Meredith Thompson
Original Lighting Design: David Morrison after Peter Anderson
Costume Design: Lori Endes after Mary Kerr
Premiere: Burton Auditorium, York University, Toronto
Dancers: Byron Beckford, Catherine George, Masuyo Higashide, Rénald Jean-Pierre, Sung hee Jhun, Sze-Yang Lam, Emily Law, Lilia Leon-Tovar, Geneviève Ménard, Brodie Stevenson, Larissa Taurins, Shauna Taylor (May 4, 5, 11, 13); Jaasiel Bean, Corey Crawford, Jasmine Ellis, Tera Hawes, Rénald Jean-Pierre, Jennifer Lécuyer, Hyun-soo Seo, Romina Soria, Kate Stashko, Brodie Stevenson, Kristina Udegbunam, Kamen Wang (May 6, 12)
As a child growing up in the United States, I was profoundly moved by the films of Charlie Chaplin. From him, I learned how personal and political views can affect art. Most of all, I learned about the power of humour. National Spirit was choreographed in 1976, a few years after the Vietnam War ended. It has been performed for over 30 years to cheers, boos, and laughter in Canada, the United States, Mexico, Guatemala, Venezuela, Columbia, England, Wales, Belgium, Germany, Italy, and Israel. - D.G.
romp della molla (May 4, 2006)
Choreography: Julia Sasso
Music: Paul Lansky
Dancers: Amanda Acorn, Mor Bar-Zakai, Jelani Douglas, Paula Duffy, Christina Giannelia, Jasmine Graham, Savannah Hoag, Daniel Howe, Timna Kohl, Shannon Leibgott, Ruth Levin, Christina Lilley, Whitney Mah, Chelsie Montgomery, Emily Poirier, Krista Posyniak, Laurence Ramsay, Janine Sicotte, Kali Stahl, Debra Su, Natalie Su, Andrew Taylor, Rose-Marie Thériault, Tabitha Vallierie
In romp della molla (spring romp) the dancers connect with the audience and each other in a fluid dialogue combining gesture, complex unison dance phrases, and everyday, pedestrian physicality (walking, running, sitting, standing, etc.). In art as in life, the integrity of a large ensemble work lies in the individual’s intention, generosity, and commitment. The movement material that I generated in one brief improvisation was manipulated, organized, and developed in collaboration with the dancers. - J.S.
The Unbridled (May 4, 2006)
Choreography: Sharon B. Moore
Music: Gustav Mahler; Fourth Movement, Symphony No. 5
Rehearsal Direction: Andrea Roberts
Dancers: Stéphanie Bernard, Heather Berry, Michael Caldwell, Whitney Hewitt, Hyeon Ok Kang, Lynndsey Larre, Mariana Medellin-Canales, Arden Metford, Emma-Kate Millar, Megan Moore, Jade Sakamoto, Erika-Leigh Stirton, Catherine Valle, Jessica Wilson, Brendan Wyatt
Thank you to Nicole Dupuis for her contribution during the creative process.
During the creation of this work, originally titled "The Bread of Angels," I was in the process of reading Dante's "Paradiso." The text contains stunning images of a magnificent landscape, ripe with spiritual possibilities. In many ways this poetic language influenced our work. The piece asks the interpreters to create characters of a vibrant nature, while maintaining a line of truthful emotional conversation. Dark or light, the characters proceed with all-out conviction. Thank you to everyone who has contributed to this work, and thank you to the dancers who bring it to life. - S.M.
Toccata (1998)
Choreography: Coralee McLaren
Music: “Toccata for Vibraphone and Marimba,” Anders Koppel
Original Lighting Design: Roelef Peter Snippe
Dancers: Amanda Acorn, Paula Duffy, Christina Giannelia, Daniel Howe, Timna Kohl, Ruth Levin, Chelsie Montgomery, Emily Poirier, Krista Posyniak, Janine Sicotte, Andrew Taylor, Tabitha Vallierie (May 4, 6, 12); Mor Bar-Zakai, Jelani Douglas, Jasmine Graham, Savannah Hoag, Shannon Leibgott, Christina Lilley, Whitney Mah, Laurence Ramsay, Kali Stahl, Debra Su, Natalie Su, Rose-Marie Thériault (May 5, 11, 13)
Toccata was inspired by the musical score. The structure and dynamic variability of the music gives range to a choreographic interpretation that is both playful and articulate, creating the opportunity for developing dancers to explore their own dynamic capabilities. - C.M.
The original creation of this work was commissioned by The School of Toronto Dance Theatre with the generous assistance of the Laidlaw Foundation.
what we weren’t really told (May 4, 2006)
Choreography: Heidi Strauss, with the dancers
Music: Jeremy Mimnagh
Dancers: Jaasiel Bean, Byron Beckford, Corey Crawford, Jasmine Ellis, Catherine George, Tera Hawes, Masuyo Higashide, Rénald Jean-Pierre, Sung hee Jhun, Sze-Yang Lam, Emily Law, Jennifer Lécuyer, Lilia Leon-Tovar, Geneviève Ménard, Hyun-soo Seo, Romina Soria, Kate Stashko, Brodie Stevenson, Larissa Taurins, Shauna Taylor, Kristina Udegbunam, Kamen Wang
Inspired by: Terry Gilliam’s Brazil; how easily misleading ‘information’ can be; J. Frank Willis’ December, 18, 1939 CBC radio news special; history repeating itself; what we fight for, who we fight (sometimes ourselves, sometimes each other), and what happens when, and if, we come together.
Thank you to Patricia Fraser, the dancers (for their generosity, patience and personality), Corey, Jeremy, Gabe, Lori, Darryl, Denise, Guillaume and Jan. - H.S.
Four Towers (1993)
Choreography: Christopher House
Music: “From the Towers of the Moon,” Robert Moran
Rehearsal Direction: Rosemary James
Rehearsal Assistance: Patricia Miner, Valerie Calam, and Kristy Kennedy
Original Lighting Design: Roelef Peter Snippe
Costume Design: Denis Joffre
Dancers: Stéphanie Bernard, Heather Berry (May 4, 5, 11, 13), Michael Caldwell, Whitney Hewitt, Hyeon Ok Kang, Lynndsey Larre (May 4, 12), Mariana Medellin-Canales, Arden Metford, Emma-Kate Millar, Megan Moore, Jade Sakamoto, Erika-Leigh Stirton (May 6, 12), Catherine Valle, Jessica Wilson (May 5, 6, 11, 13), Brendan Wyatt
Four Towers was inspired by House’s first hearing of Robert Moran's exquisite music "From the Towers of the Moon". This dance was created for TDT's twenty-fifth anniversary season. The first solo was performed by Laurence Lemieux, the trio by Naoko Murakoshi, Miriane Braaf, and Bill Coleman, and the second solo by Coralee McLaren.
A special thank you to Christopher House and Toronto Dance Theatre. Thank you to Nicole Dupuis.
The original creation of this work was produced by Toronto Dance Theatre with the generous assistance of the Laidlaw Foundation.