Dancing in the key of life in Kaeja d’Dance’s joyful, moving, dynamic Porch View Dances 2019

PORCH 2: Lifesongs (Her Mixtape’s a Masterpiece), choreographed by Shannon Litzenberger. Kirsten Boer, Marion Oliver, Lori Pacan, Evelyn Sham and Myriam Zitouni. Photo by Cate McKim.

 

Kaeja d’Dance opened its 8th annual Porch View Dances, presented in and around Seaton Village in the Annex neighbourhood of Toronto (starting at 92 London St.) last night. Part walking history tour, part magical outdoor dance performance, part storytelling, the evening’s festivities feature amateur and professional dancers. The audience is shepherded by the affable top hat-wearing host and tour guide, Maurycy, who takes us through the neighbourhood to the various porch and vignette venues—all winding up at Vermont Square Park, where everyone is invited to dance. It is a joyful, moving and dynamic evening of movement and expression.

PORCH 1: Sipikiskisiwin (“Remembering Well”), choreographed by Aria Evans and created with/performed by Jim Adams. For the third year in a row, Jim and Owen Adams, an Indigenous father and son, have embarked on a PVD series of what it means to be an Indigenous family in the city. This year, they will be creating a piece for Jim to perform about dreams, memory and loss.

Incorporating movement and ritual, a moving piece of longing, connection and remembrance.

PORCH 2: Lifesongs (Her Mixtape’s a Masterpiece), choreographed by Shannon Litzenberger; created with/performed by Kirsten Boer, Marion Oliver, Lori Pacan, Evelyn Sham and Myriam Zitouni. A unique group of friends and strangers unite in their shared love of dance, art and community. They are looking forward to strengthening existing friendships and making new ones.

Kindred spirits sharing life, love and music in a celebratory porch party atmosphere.

PORCH 3: Comme un Enfant (“Like a Child”), choreographed by Karen and Allen Kaeja; created with/performed by Ilana and Ahava Bereskin. A mother/daughter duo are looking forward to a magical bonding experience and sharing their dance with the community; while their story is unique, the themes are universal and will resonate with all.

Tender and playful, a mother and daughter delight in each other, dancing, playing and exuding pure joy.

POP-UP VIGNETTES: Dearest Love (Parts 1-3) world premiere, choreographed by Mateo Galindo Torres; and performed by professional dancers Taylor Bojanowski and Mio Sakamoto.

An unusual and delightful love story emerges between a woman and a dress on a dress form, as we encounter this magical tale in three parts, in between porch dances.

Last night’s event also included the very cool unveiling of the Porch View Dances Lane street sign (across the street from the meeting place at 92 London Street).

It’s a lovely way to spend an evening, walking through a beautiful, historic neighbourhood and witnessing the joy, poignancy and creativity of expression in movement and dance.

Porch View Dances continues until July 21, with performances Thurs-Sat at 7:00 pm and Sunday at 1:00 pm. Tickets are Pay-What-You-Want.

Department of corrections: One of the dancers in Dearest Love was previously incorrectly identified as Caryn Chappell. It’s actually Taylor Bojanowski; this has been corrected.

Here are some pix I took at last night’s opening.

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Preview: Survival, resilience & resistance in the powerful, raw, timely Four Sisters

Bea Pizano & Company. Production design by Kaitlin Hickey in collaboration with Susanna Fournier. Wardrobe and props design by Patrick Peachey Higdon. Video design by Steph Raposo. Photo by Bernie Fournier.

 

Four Sisters is the final installment of Susanna Fournier’s Empire trilogy; produced by Paradigm Productions and commissioned by Luminato, and running this week at the Theatre Centre. Directed by Fournier and choreographed by Amanda Acorn, this powerful, raw and timely tale takes us to the Empire 259 years after the events of The Scavenger’s Daughter; into a world of plague and social cast-offs, where a 279-year old former madam raises the orphaned children of women who worked for her. A doctor arrives, promising to help as she works to come up with an inexpensive cure for marginalized, low-income populations; and she needs to experiment on the children.

We are in the Skirts, an outlying neighbourhood on the outskirts of the city where society’s marginalized and cast-off people dwell—the poor, mostly women and sex workers. And because this is the Empire, this is a world where only those with money, power and connections can afford to survive and thrive in the toxic, disease-ridden mess left behind after centuries of greed, violence, war and cut-throat capitalism. Former madam Sarah (Bea Pizano) has managed to cheat Death and now finds herself being mother to Abby (Chala Hunter, Krystina Bojanowski, Yolanda Bonnell), Beah (Aria Evans, Ximena Huizi, Jennifer Dahl), Cassie (Claudia Moore) and Dee (Virgilia Griffith)—children of women who worked for her, who all died of plague. When a Doctor (Krystina Bojanowski, Yolanda Bonnell), driven by the desire to find an inexpensive cure that can be used on the low-income population, arrives from the city with the promise of medical help, Sarah must decide if she’s willing to let her girls be Guinea pigs or die of plague.

The story plays out both within and without time and space—on a bare stage, sculpted with light and punctuated with video on a solitary TV screen (designed by Steph Raposo), the chilling atmosphere hauntingly complemented by Christopher Ross-Ewart’s sound design. Time folds and bends in on itself, with the multiple casting for Abby and Beah allowing for both younger and inner selves to speak to these characters, with shades of things to come for an older Beah. And the ongoing role swapping between the actors playing Abby and the Doctor (Bojanowski and Bonnell) shines a light on the choices health care practitioners have when it comes to their practice: to play a role in the male-dominated arenas of capitalism and Big Pharma, promising low-cost health benefits at unknown personal and societal cost, or working on the front lines of health care among those who society has discarded.

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Krystina Bojanowski & Company. Production design by Kaitlin Hickey in collaboration with Susanna Fournier. Wardrobe and props design by Patrick Peachey Higdon. Video design by Steph Raposo. Photo by Bernie Fournier.

Compelling work from this remarkable cast, as the staging incorporates movement, video and voice-over to tell a story that, like the earlier parts of this trilogy, is both visceral and cerebral, past and present, present and future. Pizano nicely balances Sarah’s wry-witted madam pragmatism with the tender-hearted, concern of a good mother. Bojanowski and Bonnell mine the Doctor’s clinical detachment and sense of social responsibility to great effect. Are the Doctor’s later efforts a move toward redemption—or too little, too late?

The four girls grow before our eyes, from children playing in Sarah’s kitchen into conflicted adults struggling to choose a path in a world where paths are being cut off and replaced with walls—literally and figuratively. Hunter, Bojanowski and Bonnell bring sharp focus and inner conflict to Abby, who becomes an apprentice to the Doctor even as she longs to be a mother—and in the painful light of her new-found medical knowledge and expertise. Evans, Huizi and Dahl are loveable and heartbreaking as the energetic, resilient Beah; the dancer sister who longs to study at the academy—her exhausted, battered feet continuing to create despite the unexpected turns her life takes. Griffith brings both profound vulnerability and power to the deeply wounded, angry Dee; self-medicating in an effort to deal with troubling visions, Dee becomes an addict and an outcast among her own marginalized family, setting her on the path toward a surprising evolution. And Moore’s Cassie is adorable and wise; ever a child, Cassie sees and responds to unfolding events with innocent honesty.

Operating both in and out of time and space, we witness what the Empire has come to following centuries of war and social disintegration—leaving us wondering what, if anything, will rise from the ashes. (During intermission, you can view artifacts in the National Museum of the Empire installation in the upper lobby, outside the theatre.) In the end, through pain, grief and loss, there is resilience and resistance. It is apocalypse with a glimmer of hope. And all with the recognition—both disturbing and reassuring—of our own time and place.

Four Sisters continues in the Franco Boni Theatre space at the Theatre Centre until June 16. Post-show talk backs with the artists are scheduled to follow the 8 pm performance on Fri, June 14 (hosted by Ted Witzel); and the 2 pm performance on Sat, June 15 (hosted by Maria Vamvalis). Advance tickets available online; it was a full house at last night’s final preview performance, so advance booking or early arrival is strongly recommended.

If you’re like me and missed the first two installments of the Empire trilogy, or want a refresh before seeing Four Sisters, you can catch up and listen to the podcasts of The Philosopher’s Wife and The Scavenger’s Daughter on The Empire website, co-produced with Expect Theatre’s PlayMe Podcast.