Home About Me Articles Sorted by Type The Dance Debrief Contact Subscribe

Dance Magazine Work

The Dance Current •

Fearless Physicality: Athleticism in Toronto’s professional wrestling scene

Grown men in tights that aren’t ballerinos?! Must be the century-old art form of professional wrestling! Its blend of dramatic storytelling and raw athleticism has a unique way of keeping audiences on the edge of their seat.

Most of us associate professional wrestling with its 1980s camp, the golden age of Hulk Hogan and André the Giant. But this underground subculture is still going strong, as today’s professional wrestlers mix different performance techniques into their matches. Professional
The Dance Current •

The Red Wall: How Social Media is Changing Commercial Dance in Canada

Excerpt from January/ February 2019 Issue of The Dance Current Magazine:

There is a certain magic to the last ten minutes of a dance class. The choreography has been taught and embodied. The stress of learning more choreography is finally removed. The adrenaline of the dancer is pumping, as they are ready to perform and give everything they have for the final minutes of class. Class videos capture these last few minutes, embodying this energy and captivating new viewers to join in on this thrill.
The Dance Current •

Happily Ever After

The National Ballet of Canada’s The Sleeping Beauty

The Sleeping Beauty has been performed by The National Ballet of Canada in 1972, 1987, 2006 and excitingly now in 2015. Having been performed over so many years, the ballet still has potential to capture the imaginations of audiences of all ages.

Inspired by the tale La Belle au Bois Dormant, written by Charles Perrault in 1679, Tchaikovsky created his longest ballet score, The Sleeping Beauty, in 1889. A year later, the first ballet producti
The Dance Current •

Genée International Ballet Competition

The Genée International Ballet Competition, one of the world’s most prestigious ballet competitions, will return home to London this year from September 16-19, 2015. First held in 1931, the competition invites talented young dancers trained in the Royal Academy of Dance (RAD) syllabus from around the world to compete. This year, in an effort to increase opportunities for competitors, the RAD has introduced the Darcey Bussell Genée Bursaries to help competitors across the world in need of financi
The Dance Current •

Alice’s Adventures in Wonderland Review

But Who Is Jack?

With 146 bodies involved both on- and offstage in The National Ballet of Canada’s (NBoC) Alice’s Adventures in Wonderland, the production is certainly quite magnificent in size and creation. Running from March 14 to 29, it is full of striking costumes, lively sets, humorous props and entrancing projections, yet I couldn’t help but feel that there were one too many performers on stage.

Choreographed by Christopher Wheeldon in 2011 as a co-production of the NBoC and The Royal B
The Dance Current •

Madness Ensues at the Ballet

According to many, Vaslav Nijinsky was the greatest male dancer of the twentieth century. Maybe even the best to ever live. Despite the tragic end of his career (due to schizophrenia) at the early age of twenty-nine, the mad genius dancer and choreographer led a passionate life full of sex, love and dance, which is showcased brilliantly in John Neumeier’s ballet Nijinsky. Performed by The National Ballet of Canada at the Four Seasons Centre from November 22-30, the ballet provides a glimpse into
The Dance Current •

The Future of Dance’s Past

Photographs, diaries, letters, programs, touring itineraries and a ton of fantastic memorabilia, amounting to more than 50,000 items’ worth of American Ballet Theatre history, were recently donated to the Library of Congress in Washington, D.C. Until then, the company, entering its seventy-fifth season, lacked the proper means of conservation.

Administrators at American Ballet Theatre had been considering how to conserve the valuable documents that outline the company’s history for a number of
The Dance Current •

Canada’s Past and Present at Jacob’s Pillow

Apart from trying my hardest not to end my sentences with “eh” or being teased gently for saying “washroom” instead of “bathroom,” I have had an amazing time interning at Jacob’s Pillow Dance Festival in the beautiful Berkshire Hills in Becket, Mass. I am in residence at the festival for the full ten weeks, and work as one of two archives and engagement interns. Being the only Canadian intern here this summer, and working in the extensive archives at the Pillow, I feel it is my duty to report on
The Dance Current •

Is Toronto Ready for Hip Hop Theatre?

What happens when you ask a group of street dancers to dance like peanut butter? While Victoria “VicVersa” Mackenzie shouts “smooth or crunchy?”, Lee “Lethal” Pham lays down and starts munching on the most amazing imaginary sandwich he has eaten in his life. The rest of the cast surround him, all creating their own incredibly physical and peanut butter-inspired movement. The group creates childlike fun onstage, inviting the audience to join in on this journey of defining hip hop theatre.

Open A

Academic Publications

Critical Stages/Scènes critiques •

Dancing with AI: Unveiling the Potentials and Pitfalls of ChatGPT for a New Wave of Dance Critics and Criticism

This study aims to examine the multifaceted implications of employing ChatGPT in dance criticism, focusing on its potential for instant editing, the ability to aid writing in diverse critical styles and its potential pitfalls, such as algorithmic biases, privacy and copyright issues and the perpetuation of racist or incorrect stereotypes within movement and dance genres. I argue that ChatGPT will initiate a new age of dance criticism, different from the scholarly attention tha...
Riffs •

FUTURE FANDOMS ft. The New Labour of Digital Platforms on Superfans

No longer are the days when a superfan can get by in the physical world. Now, superfans buy NFTs of their favourite musician's merchandise or songs, buy virtual land next to their favourite artists in the metaverse, or even get plastic surgery to look more like their idols. Now you can buy donuts, wings, hamburgers or chicken nuggets, all based on your favourite artists' preference. Is it not available in your region? Then you can purchase the used packaging from others online for a hefty fee.
HipHop Dance Almanac •

Derogatory Dancing: Heteronormative Inscriptions on Female Hip-Hop Dancers in Breaking and Commercial Spheres

Message requests through Instagram raise the hairs on the back of my neck. As professional commercial dancers, we are told to keep our social media accounts public based on their use as a virtual resume and for the potential to receive dance jobs through the platform. These are not dance world myths. Many friends have received massive contracts from major companies like Sports Chek and
IASPM Canada 🇨🇦 •

IASPM Canada 2021 Conference Blog: Deanne Kearney

An accidental unmute during a presentation, static from someone's headphones, incoming email dings… So much has been written on the visual aspects of zoom creating different levels of intimacy and zoom fatigue, such as the exhausting act of performing your body language to a screen that is always on. Yet, what are the sounds of zoom that change our perceptions of the intimacies and insecurities of our spaces? Does it change our scholarship and relationships? How is this being reflected in the music industry during these trying times?
MA Work •

The Rize of Krump in Canadian Dance

This major research paper follows a three-month ethnographic study of Canada’s krump dance communities in Montreal, Toronto, and Calgary. Krump is an aggressive hip-hop dance style, created in South Central, Los Angeles in the early 2000s. I trace the growth of krump across Canada following the release of the documentary film Rize (2005). I argue Canadian krumpers are currently trying to build a national identity, distinct from the United States, in order to gain respect from the international krump community. Despite this shared overall goal, each Canadian community differs greatly, owing to their diverging histories and interpretations of krump culture as conceptualized by co-creator Ceasare “Tight Eyez” Willis.
MA Work •

Roland and Romaine - Then and Now

In​ ​1951,​ ​Betty​ ​Romaine​ ​Nicholson​ ​was​ ​the​ ​first​ ​North​ ​American​ ​woman​ ​to​ ​win​ ​a​ ​gold medal​ ​in​ ​an​ ​international​ ​ballroom​ ​competition.​ ​She​ ​went​ ​on​ ​to​ ​teach​ ​at​ ​Toronto's​ ​Arthur Murray's​ ​dance​ ​school​ ​where​ ​she​ ​met​ ​Roland​ ​Kirouac.​ ​Together,​ ​they​ ​created​ ​a​ ​legacy across​ ​Canada​ ​and​ ​toured​ ​internationally​ ​with​ ​both​ ​ballroom​ ​dance​ ​and​ ​commercial​ ​jazz choreography​ ​featured​ ​on​ ​television,​ ​films​ ​and​ ​large​ ​live​ ​performances,​ ​such​ ​as​ ​the​ ​Canadian musical​ ​Television​ ​show,​ ​​The​ ​Pig​ ​and​ ​Whistle​.​ ​In​ ​Toronto​ ​in​ ​1960,​ ​they​ ​opened​ ​up​ ​their​ ​first dance​ ​studio...
MA Work •

The Dungeon Sessions: An Ethnographic Look at Krump in Toronto

It’s the national basketball league’s 2015 final between the Cleveland Cavaliers and the Golden State Warriors. The game is tied at the end of the fourth period. As the game goes into overtime, the crowd is captivated and on the edge of their seats. The players are full of adrenalin, ready to try their hardest to take the win. Five minutes later… the final buzzer rings! It is the end of the game, taken by a close two points by the Cleveland Cavaliers. LeBron James, Cleveland’s all-time leading scorer and multi-year MVP, screams! He whips the ball to the ground with all of his might. He throws all of his energy through his arms, into his fists, across face and down into his feet.
Keep It Simple Make It Fast! An Approach to Underground Music Scenes •

The multiple legitimacies of Tentacle Tribe, a dance company

According to Hugues Bazin (2002), hip hop dancers working in theatrical settings have a "double legitimacy" as they gain acceptance in two contexts with different expectations, criteria and values. In this case study, we researched how an emerging dance company negotiates artistic identities in the entertainment, street dance and theatrical art worlds, finding acceptance across competing discourses. Tentacle Tribe, a dance company comprised of Emmanuelle Lê Phan and Elon Höglund...

Other

Explore Magazine •

A Surprise Double Proposal on Canada's Bruce Trail

The best time to sign up for an adventure is a bottle of red wine deep into watching the International Banff Film Festival on a cozy couch, right? While viewing the incredible feats of ultra-distance athletes and extreme climbers, my partner Sadie turned to me and said she had always dreamed of running the entire Bruce Trail. I grew up hiking the path with my father but had never thought of hiking the entire thing until that moment. I simply said, “Let's do it!”

Dance and Theatre Reviews

The Dance Debrief •

Review: Charpentier’s David and Jonathan (Opera Atelier)

One of my favourite things about Opera Atelier is the adorable married duo at its helm. Led by director Marshall Pynkoski and choreographer Jeannette Lajeunesse-Zingg, the two first met in a Toronto ballet class in the early 1980’s and bonded over their shared love of baroque music, opera, and dance. In 1985, they launched Opera Atelier in Toronto, and this production of Marc-Antoine Charpentier’s David and Jonathan marks their fortieth anniversary season.
Forty seasons is no small feat, and th...
The Dance Debrief •

Review: OPHIS (Transcen|Dance Project)

Back with another fantastic immersive dance experience is OPHIS, presented by Transcen|Dance Project. Created and choreographed by Julia Cratchley with an original score by Owen Belton, OPHIS reimagines the myth of Medusa in an intimate site-specific performance that takes over all three floors of Toronto’s historic Great Hall.
There is no company I talk about more—rave about more—than Transcen|Dance Project. Their works are immersive,...
The Dance Debrief •

Review: PIÑA (FakeKnot / Toronto Dance Theatre)

Beginning with karaoké, snacks, and a warm gathering in Studio A at the Winchester Street Theatre, PIÑA—presented by FakeKnot and Toronto Dance Theatre—invites its audience into something more than a performance. Choreographed and performed in part by Ralph Escamillan, the evening gradually shifts from a community celebration to an intimate, layered exploration of identity, history, and the diasporic body.
PIÑA takes its name from a traditional Philippine textile: a delicate, translucent fiber m...
The Dance Debrief •

Review: Swan Lake (The National Ballet of Canada)

Karen Kain’s 2022 Swan Lake is back on the Four Seasons Centre stage with the National Ballet of Canada—but this time, Tchaikovsky isn’t the first thing you’ll hear. Instead, each performance opens with “O Canada.” On opening night, the audience sang loud and proud, embracing this unexpected yet thoughtful gesture—a reflective nod amidst current trade tensions between Canada and its southern neighbour, and perfectly fitting for a production created by Canada’s very own ballet sweetheart.
This ne...
The Dance Debrief •

Dawson, Goecke, Tudor: A Review of The National Ballet of Canada’s Winter Triple Bill 2025

A delicate reflection on time, a dark plunge into the subconscious, and a bold reimagining of a classic—the National Ballet of Canada’s latest Triple Bill offers an evening of works connected by a common thread of reflection and transformation. The program features the 50th-anniversary performance of Antony Tudor’s The Leaves Are Fading, the gorgeous yet unsettling Morpheus’ Dream by German choreographer Marco Goecke, and a new take on The Four Seasons, choreographed by the National Ballet’s new...
The Dance Debrief •

Review: everything i wanted to tell you (Vazari | Citadel + Compagnie)

With each lift, shimmy, and playful shove, everything i wanted to tell you (but couldn’t, so here it is now), choreographed by Jessie Garon, explores the physical and emotional push and pull of familial relationships. Presented by Vazari and Citadel + Compagnie, this contemporary dance work balances humor and gravity as it unpacks the joys and struggles of these bonds, subtly questioning the cultural push toward setting rigid boundaries with family.
This performance begins on a light hearted not...
The Dance Debrief •

Review: The Nutcracker (The National Ballet of Canada)

You probably know the story, but here’s a little refresher: it begins on a snowy evening at a Christmas party in a broken down barn, where siblings Marie and Misha are joined by their eccentric and magical Uncle Nikolai, who brings them gifts—including a special Nutcracker doll. When the clock strikes midnight, the Christmas tree grows, and the Nutcracker and other toys come to life. Together, the brother, sister and Nutcracker go on an adventure, facing the sinister Mouse King before journeying...
The Dance Debrief •

Review: Raven Mother (Dancers of Damelahamid / DanceWorks)

The regalia, crafted by Rebecca Baker-Grenier, is full of life, stories, and vibrant color. While I don’t have deep knowledge of Indigenous cultural symbolism, it’s clear that each piece is created with immense care and intention. The work also features beautiful original music and live vocals by Raven Grenier, in collaboration with composer Ted Hamilton.
The movement itself shifts between animal motifs, with each vignette embodying a different creature. The snake-inspired section stood out for...
The Dance Debrief •

Review: Silent Screen / Body of Work / Rhapsody (The National Ballet of Canada)

Opening the season at the National Ballet of Canada is a Triple Bill that showcases that the company never shies away from a challenge. This program celebrates its own talents as well as the neoclassical and contemporary ballet worlds, featuring Body of Work, a solo by Canadian dancer Guillaume Côté; Rhapsody, a neoclassical ode to Sir Frederick Ashton; and Silent Screen, a cinematic contemporary ballet marvel.
Opening the night is Body of Work, a solo choreographed and danced by National Ballet...
The Dance Debrief •

Inside the National Ballet of Canada’s Premiere of Silent Screen: A Conversation with Medhi Walerski & Ben Rudisin

The National Ballet of Canada will present Silent Screen from November 9 to 16, 2024, marking the first time Lightfoot and León’s work will be performed by the company. Yet, this production does have some of its own ties to Canada: Medhi Walerski first debuted in Silent Screen in 2005 with NDT, and today, the role is being taken on by Principal Dancer Ben Rudisin. I spoke with them about their experiences with this piece and their thoughts on introducing this cinematic and quirky work to Canadia...
The Dance Debrief •

Review: Acis and Galatea (Opera Atelier)

Opening Opera Atelier’s fortieth season is Handel's Acis and Galatea—an English-language opera staged at the beautiful Elgin Theatre. With a campy love story, playful humor, and lots of dancing, this production, directed by Marshall Pynkoski, delivers the kind of accessible, vibrant production that Opera Atelier is known for.
Acis and Galatea, based on Ovid’s Metamorphoses, tells the love story between the water nymph Galatea and the Arcadian shepherd Acis. The first act highlights how deeply in...
The Dance Debrief •

Review: Burn Baby, Burn (Fall For Dance North / Côté Danse)

Ending my run with this year’s Fall For Dance North (FFDN) festival is Burn Baby, Burn , a new work by Guillaume Côté / Côté Danse, presented at the Fleck Dance Theatre. Inspired by the collective actions needed to combat climate change, this piece follows a fiery theme—aptly reflecting the urgency of our times and particularly poignant as we witness the devastation caused by Hurricane Helene in Florida.
Performed by nine dancers, this contemporary work is one of my favorites of Côté’s so far. T...
The Dance Debrief •

Review: Big Time Miss (Fall For Dance North / Rock Bottom Movement)

World-premiering at the Fall for Dance North Festival, is Big Time Miss by Canada’s own Rock Bottom Movement, choreographed by Artistic Director Alyssa Martin. This work feels like watching Merce Cunningham on drugs—or maybe just finally letting his dancers feel something—sprinkled with a healthy dose of silliness and the occasional hip thrust. (Meant with all the respect in the world.)
This version of Rock Bottom Movement is more stripped-down than usual, showcasing the company’s range. The foc...
The Dance Debrief •

Review: Autobiography V98 + V99 (Fall For Dance North / Company Wayne McGregor)

Unapologetically postmodern, Autobiography V98 + V99, presented by Fall for Dance North at The Creative School Chrysalis at Toronto Metropolitan University is a 75-minute dance work by Company Wayne McGregor. The work draws from McGregor's genetic code to create 23 sections, representing the 23 chromosomes in the human genome, arranged randomly using AI. As a result, no two performances are the same.
This piece is quintessentially Wayne McGregor. A trailblazer in contemporary dance, McGregor is...
The Dance Debrief •

Review: Homecoming – 2024 Signature Programme (Fall For Dance North)

It’s officially dance season! For me, it all starts with the Fall for Dance North (FFDN) festival. Celebrating its tenth anniversary, this year’s festival feels bigger and better than ever.
Kicking off this milestone season is Homecoming – 2024 Signature Programme, presented at The Creative School Chrysalis at Toronto Metropolitan University. This two-hour show (with two intermissions) features three works: The National Ballet of Canada’s islands, Malpaso Dance Company's The Last Song, and Balle...
The Dance Debrief •

Review: Jewels (The National Ballet of Canada)

Lastly, we are met with the Diamonds act, following Balanchine’s time with the Imperial Ballet of Russia, set to music by ballet's favorite composer Pyotr Ilyich Tchaikovsky. This act embodies what people often imagine when they think of ballet—pristine white costumes, sparkles, romantic dancing, and a wealth of beautiful shapes and patterns. The choreography is filled with arabesques, bourrées, and fantastic pointe work.
The Dance Debrief •

Inside The National Ballet of Canada's Mad Hot Ballet: Garden of Jewels Gala

The gala is a perfect time to reflect on the past season and the wonderful company. Outside of reviewing the National Ballet of Canada’s works, I spend a lot of time thinking and writing about the company as I am entering my final year of my Ph.D. at York University in Theatre, Dance, and Performance. My dissertation focuses on a pivotal era of the National Ballet of Canada—the Nureyev era. In short, in 1972, the National Ballet of Canada was on the verge of bankruptcy following the creation of
The Dance Debrief •

Review: JUNIOR 2024 (Harbourfront Centre)

Make Me Dance was the first on my list, the only ticketed event on my roster for the day. This live dance and DJ show, with choreography by Anne Holck Ekenes and Pia Holden, is performed by the Norwegian company Panta Rei Danseteater and co-produced by Brageteatret.

Make Me Dance was a truly special experience. You are welcomed into the Harbourfront Centre Theatre, stripped of its chairs. A wide-open floor with big long rectangular boxes for seats creates a performance in the round (really a sq
The Dance Debrief •

Review: The Tragedy of Hamlet, Prince of Denmark (Côté Danse, Ex Machina, and Show One Productions)

Opening tonight at the gorgeous Elgin Theatre, The Tragedy of Hamlet, Prince of Denmark, presented by Côté Danse, Ex Machina, and Show One Productions, is a wordless dance spectacle that captivates from start to finish. Choreographed and co-designed by Guillaume Côté and directed and designed by Robert Lepage, this production beautifully demonstrates that words are not necessary to convey the essence of this timeless Shakespearean tale. I attended a preview of the work last night...
Photo by Karolina Kuras.
The Dance Debrief •

Review: Winter Triple Bill (The National Ballet of Canada)

Winter Triple Bill, presented by the National Ballet of Canada, showcases three distinct works on the Four Seasons Stage. From the intimate duet of islands by Canadian choreographer Emma Portner, to the neoclassical elegance of Suite en Blanc by Serge Lifar, and the digital-age reflections of UtopiVerse by Canadian William Yong, this Triple Bill offers a diverse mix of contemporary and classical ballet, highlighting the exceptional talent of Canadian dancers and choreographers.
The Dance Debrief •

Review: Alice's Adventures in Wonderland (The National Ballet of Canada)

Each character has their own unique movement style, with the flamingos being particularly noteworthy. The flamingos stand on one leg, their arm acting as their head, which seems to have a life of its own. The White Rabbit is constantly itching his ears and anxiously rushing Alice with quick, sharp movements, while the angry Queen is hilarious as she trembles with rage and experiences many comical mishaps with her staff, who nervously drop her in fear.
Load More