ARCHIVES – DANCE THAT OPENED IN FEBRUARY.2014


abrahamKYLE ABRAHAM/ABRAHAM.IN.MOTION. THE RADIO SHOW. You only have until Saturday to catch this World Stage offering. Abraham is one of New York’s brightest lights. The supple dancers execute fluid, total body choreography in this show about memory and communication. As a dancesmith, Abraham knows how to rivet the eye with movement that always catches you by surprise. No wonder he won a genius grant from the MacArthur Foundation. An ambitious show in content that maybe doesn’t get quite get to where it should in substance, but the choreography rocks. (Closes Feb. 8, Fleck Dance Theatre, www.harbourfrontcentre.com.)

DANCE IMMERSION. CELEBRATING OUR MEN IN DANCE. This show, also on a short run, is part of Black History Month. Curator Vivine Scarlett has opted to program 8 male choreographers to present black men in a positive light. They hail originally from Trinidad and Tobago, Nigeria, South Africa, Mozambique, and Jamaica, while two are Toronto born. The dance ranges from traditional to contemporary and presents a wide spectrum of themes. While the quality is uneven, the bill of fare is entertaining. This is an important show because it speaks to Canada’s multicultural mosaic. (Closes Feb 8, Enwave Theatre, www.harbourfrontcentre.com.)

Mirvish Productions. Heartbeat of Home. This new production, from the team that brought you Riverdance two decades ago, is an immensely enjoyable, professional-looking, polished dance show where everything hangs together as smooth as silk. The music score is sensational and the band it hot. Despite some weaknesses to the look of the show, it certainly deserves a long shelf life. (Closes Mar. 2, Ed Mirvish Theatre, www.mirvish.com.) See full website review, http://wp.me/p2s1nr-zz.

Mirvish Productions. ARRABAL. There’s mostly good news about the dance theatre show Arrabal. The choreography is sharply-edged sensuality and the music is scorching hot. On the down side, the book is weak, but, in the final analysis, who cares. The look of the show, from the gorgeous Argentinian dancers to the towering projections and sexy costumes, is scrumptious. In this coming of age story, the virginal heroine Arrabal (Micaela Spina) discovers that her father is one of the desaparecidos, a dissident who was arrested by the ruling military junta and made to disappear. (Choreographed by Sergio Trujillo and Julio Zurita, book by John Weidman, Closes May 11, Panasonic Theatre, www.mirvish.com.) See full Globe and Mail review (http://bit.ly/1g0KvNh).

PAULA’S PICKS AND PANS

THEATRE – NOW PLAYING (five start rating system)

Canadian Stage. London Road (4 ½ stars). Run don’t walk to see one of the most unusual shows in town that is soon to close. The serial killer of five prostitutes in Ipswich, England, had a flat on London Road. Verbatim playwright Alecky Blythe interviewed residents of the street to capture what they went through during the investigation, arrest and trial. These conversations were then set to music by composer Adam Cork. The resulting sung monologues/dialogues are astonishing in their reality. london_road_4The 11-member cast is unbelievable (all kinds of Stratford/Shaw types), gilded by director Jackie Maxwell and her Shaw Festival music director Reza Jacobs. The costumes and the set are terrific. I’m deducting marks for some impenetrable accents. Nonetheless, once again, CanStage scores big with a North American premiere. (Closes Feb. 9, Bluma Appel Theatre, www.canadianstage.com.)

DANCE – NOW PLAYING

KYLE ABRAHAM/ABRAHAM.IN.MOTION. THE RADIO SHOW. You only have until Saturday to catch this World Stage offering. kyle abrahamAbraham is one of New York’s brightest lights. The supple dancers execute fluid, total body choreography in this show about memory and communication. As a dancesmith, Abraham knows how to rivet the eye with movement that always catches you by surprise. No wonder he won a genius grant from the MacArthur Foundation. An ambitious show in content that maybe doesn’t get quite get to where it should in substance, but the choreography rocks. (Closes Feb. 8, Fleck Dance Theatre, www.harbourfrontcentre.com.)

DANCE IMMERSION. CELEBRATING OUR MEN IN DANCE. This show, also on a short run, is part of Black History Month. Curator Vivine Scarlett has opted to program 8 male choreographers to present black men in a positive light. dance.immersionThey hail originally from Trinidad and Tobago, Nigeria, South Africa, Mozambique, and Jamaica, while two are Toronto born. The dance ranges from traditional to contemporary and presents a wide spectrum of themes. While the quality is uneven, the bill of fare is entertaining. This is an important show because it speaks to Canada’s multicultural mosaic. (Closes Feb 8, Enwave Theatre, www.harbourfrontcentre.com.)

Mirvish Productions. Heartbeat of Home. Heartbeat_of_Home__(6)This new production, from the team that brought you Riverdance two decades ago, is an immensely enjoyable, professional-looking, polished dance show where everything hangs together as smooth as silk. The music score is sensational and the band is hot. Despite some weaknesses to the look of the show, it certainly deserves a long shelf life. (Closes Mar. 2, Ed Mirvish Theatre, www.mirvish.com.) See full website review, http://wp.me/p2s1nr-zz.

 

 

 

Dance Review – Mirvish Productions/Heartbeat of Home

Heartbeat_of_Home_2What a difference 20 years makes. Heartbeat of Home, the new show from the team that brought you Riverdance two decades ago is an immensely enjoyable, professional-looking, polished dance show where everything hangs together as smooth as silk. The music score is sensational and the band it hot. It certainly deserves a long shelf life.

Now for full disclosure. I never warmed up to Riverdance with its pretentious, obscure narration, the staccato dance numbers that seemed gerrymandered together, particularly the odd inclusion of Russian folk dance, flamenco, urban tap and street dance. Every non-Irish dance section in that show seemed to be mere way stations awaiting the wall of thunder. As for those Iris dancers, especially the men, they looked like your high school class, acne included.

Cut to 2014. Heartbeat of Home is a child of Riverdance because it too showcases different dance forms – flamenco, Latin, Afro-Cuban and urban – along with Irish step dance. But there the similarity ends. Joseph O’Connor’s narrative line has cohesion – young people forced to leave their homeland for better beginnings in the first act, and a celebration of multiculturalism in the second. The various dance sequences belong to the whole cloth producing an even and logical flow.

John Carey is responsible for the always exciting Irish dance numbers, while choreographer David Bolger created the attractive contemporary-ballet-jazz sections, and the musical staging. Many of the accomplished dancers step out of their specialities from time to time to show their versatility. The second act, in particular, is impressive as most of the eye-catching numbers are fusion. Bolger and Carey have been immensely clever in merging the dance forms into an extravaganza of styles all happening at the same time. For example, Irish dancers actually do partnering.

Heartbeat_of_Home__(7)In fact, the level of dance overall is very high. Lead Irish dancers Ciara Sexton and Ryan McCaffrey are charismatic, as are Afro-Cuban dancer Teneisha Bonner and Latin dancer Curtis Angus. Flamenco dancers Rocio Montoya and Stefan Domit do rivet the eye. Vocalist Lucia Evans can fit herself into ethereal Celtic or driving urban sound, and everything in between.

As for composer Brian Byrne, his music is gorgeous, both instrumental and songs (with O’Connor’s lyrics). Of great fascination is the combination of traditional Irish instruments with Latin brass. This show gives the musicians a chance to shine and the band absolutely steals the curtain call.

There are some weaknesses. I wanted more innovative projections on the wrap-around screen. At the moment, they are very routine like sunsets and flying birds and landscapes. This show also needs a real Broadway or West End costume designer because Monica Ennis and Niamh O’Connor just don’t cut it. In a word, the costumes are cheesy, even amateurish at times – like the dream sequence where the two women sport flowy, jagged-edge, balloon outfits. Only the short dresses for the Irish dance sequences are okay, but surely something more original could have been devised. In other words, the on-the-cheap look of the show does not match the level of the dance or music.

Heartbeat_of_Home__(6)None of that really matters, however, because the dance and the music rock, and they are at the heart of Heartbeat of Home. Kudos to producer Moya Doherty and director John McColgan for advancing their craft. Just think how great the new grandchild of Riverdance will be when it gets launched in another 20 years.

Heartbeat of Home, (choreography by David Bolger and John Carey), Mirvish Productions, Ed Mirvish Theatre, Jan. 21 to Mar. 2, 2014, www.mirvish.com.)