Casting dancers for performance at New Blue Festival June 7, 2018 in Toronto, Canada.
Seeking 2-3 dancers (male or female) for a physical contemporary work (remount). Dancers must have strong physical ability, unique movement profile, proficiency in partnering, and floorwork. Dancers must be available for majority of rehearsals, see below. Offering an honourarium of $200 for this process. The rehearsals will take place either at Artist's Play or City Dance Corps. Due to tight time frame, we are unable to audition so please submit by sending:
- max 3 video clips
- letters of recommendation (optional)
- Any conflicts with schedule
Email firstname.lastname@example.org by 5pm on Wednesday April 25th, 2018.
Tuesday May 1st
Thursday May 3rd
Monday May 7th
Thursday May 10th
Tuesday May 15th
Thursday May 17th
Tuesday May 22nd
Tuesday May 29th
TECH rehearsal Monday June 4 1.5 hours between 7-10pm, exact time pending.
Performance Thursday June 7, 2018 between 7-9pm.
A REVIEW OF THOMPSON'S LATEST WORK, "33/33"
Photo: Dedra McDermott, Sebastian Hirtenstein, Miyeko Ferguson and Emily Spearing in 33/33.
Photo by E.S. Cheah Photography
Take any line and cross it with another. That spot, the point of intersection, is the most
interesting place on any line: the location where it collided with another. Kylie Thompson’s new
work, 33/33, centers around the geometric elements of movement. From Simon Clemo’s
projections straight through to Stephanie Orlando’s musical composition and Simon Clemo’s
lighting design, the work focusses wholly on points, lines, shapes, and numbers. And, through
the carving and circling, cracking and cutting movement, the end shape reverberates as a
meaningful portrayal of how people, like lines, are most interesting when they collide.
The shape of the work itself could be described as a circle. The sound of a billowing ocean
wave opens the piece, the lights revealing seven dancers onstage: four females—Miyeko
Ferguson, Dedra Mcdemott, Alyssa Petrolo, and Emily Spearing—surrounding three
males—Sebastian “Bash” Hirtenstein, Gavin Law, and Darian Mark. Standing downstage on the
left, McDermott begins, paralleling the sounds of the ocean in her movements, arms flowing
around her body like waves rushing over the sand. Then, like waves breaking apart, her
movements open, cracking apart with a pressing weight. Eventually, the movement is passed
around the outer circle, while the three male dancers in the center move slowly. Each move
towards a shape without ever stopping, transforming like Greek statues from one softened pose
A shift in the music, from waves to chimes, causes a shift in the movement: limbs become
swifter and more defined, the dancers themselves becoming more acrobatic and dynamic. Solid
lines form and then break apart, the dancers are spun, swung or pulled outwards. At one point,
five dancers watch one, ignoring another. The other, McDermott, casts herself on a downstage
diagonal, her movements jerky, her body constantly pulled to the floor. The group eventually
turns to her, pulls her up, and then lets her down, caught in a constant cycle of giving and taking,
then pulling and throwing.
In a moment alone, Hirtenstein commands the stage. Beginning with bird-like actions, his
nose guides his way and, like a pen tip curving on a page, he decorates the air. As the section
continues, he fills his lungs as though on guard, his eyes waiting for another movement to flitter
across the stage. His movements continue to captivate, as he jerks and twists his body,
articulating his limbs with precision, his body terse with potential. Another dancer, Petrolo, joins
him, their duet morphing into a mutual challenge, as the waves bring us back full circle to the
Then, instead of ending with a perfect circle, Thompson pierces a line through her work,
bring the dancers back on stage, one by one, for a numerical face off. The dancers call out
numbers, rolling at seemingly random intervals until the last dancer arrives onstage and calls out
the number eight. In a breath, all the dancers roll and the piece ends, without decisive resolution.
By cutting the work open at the end, Thompson changes the entirety of the work. Just as a
painter draws a line through a fully formed shape to change our perspective, Thompson gives the
audience symmetry and then draws a line through it, not wiping it out, but changing its essential
meaning. After all, the place of intersection—the point where lines and lives collide—is where
- MARISSA TRARBACK
I'll be starting up 2 new classes on wednesdays (No more tuesday classes!) and you can take advantage of this FREE CLASS offer from City Dance Corps!
5-6pm Beg/Inter Jazz Funk
6-7pm Ballet Bootcamp
* Wednesday Nov 1st Jazz Funk is FREE - use promo code 'jazzy' - space is limited!
To those of you out there who attended my workshops yesterday at the TDTE - Thank you. It was a challenge but yet a pleasure to share my work with you all. Thank you to those who have reached out to me personally with thanks. I wanted to share some notes from my Improvisation class that may help.
I hope you continue or begin to, teach improvisation to your students. They'll learn to express freely through dance, become more confident in themselves as dancers and as individuals, and perhaps start on a road towards becoming choreographers themselves. How cool is that?
PS - for those asking about my music - find me on Spotify as Kylie Thompson.. you'll see my Expo playlists there! :)
Thanks again! See notes below :)
I am very excited to annouce that I've begun work on a duet work for the upcoming New Blue Festival. This duet features Derick Robinson (@derickxclusiv) and Alyssa Petrolo (@alyssapetrolo) alongside an original musical composition by local composer Stephanie Orlando. Versus is what I might call a "reduction" from my research with The Garage, back in Fall of 2015; it was originally researched and mounted on a group of 4 dancers. We are early in the process, but I can't wait to see what we create, and to share it with the Toronto Dance Community. #TheFestival17 runs from June 13-17, 2017.
Check out this awesome video footage from a recent session I lead at the Garage. I can't tell you how much I've learned from this collective and these people! If you're interested in joining, don't hesitate to contact them. Video shot and edited by my friend Steven Chabala.
Recently the faculty for the Toronto Dance Teacher Expo was announced and I am so thrilled to be part of the inspiring lineup. Check the website for all scheduling and registration info. This is HUGE! Can't wait to share with you all.
I will be teaching two workshops for attendees:
"Engaging the Creative Dancer" - Improvisation Technique
"What Goes Up..." - Floorwork Technique
Save the date teachers! August 8-10th, 2017.
I wanted to post all in one place my FULL weekly drop-in class schedule, as well as some info on all the classes.
MONDAYS @ City Dance Corps (489 Queen St. West)
4-5pm POWER BARRE
6-7pm BALLET BOOTCAMP
TUESDAYS @ The Underground Dance Centre (220 Richmond St. West)
4-5pm Intermediate JAZZ CHOREOGRAPHY
THURSDAYS @ City Dance Corps (489 Queen St. West)
5-6pm Beginner JAZZ CHOREOGRAPHY
6-7pm POWER BARRE
8:30-10pm Beginner CONTEMPORARY
FRIDAYS @ City Dance Corps (489 Queen St. West)
2:30-4pm Beginner/Intermediate CONTEMPORARY
4-5pm POWER BARRE
SUNDAYS @ Underground Dance Centre (220 Richmond St. West)
12-1pm Intermediate/Advanced CONTEMPORARY (combo only)
In this class students will learn to become accustomed to a very grounded and animalistic way of moving. The class consists of guided improvisational tasks meant to engage the creative side of the dancer, as well as structured and specific sequences exploring various floorwork elements that challenge stamina, core strength, upper and lower body strength. Expect to sweat and express! Long pants and clothing to protect the skin is recommended. Socks or bare feet recommended.
In this class we will go through a modern-jazz style warm up and learn a new piece of choreography each week, style will vary week to week from bluesy-jazz, contemporary jazz, theatre jazz, commercial jazz.
Get the dancer’s physique with this intense ballet barre class. A City Dance Corps signature class which has been running since 2001! Strengthen technique, body alignment and tone your entire body, from head to toe. Using upbeat music, this ballet barre class incorporates basic ballet movements and positions to increase your balance and body strength. Those who take Power Barre, also like Ballet Boot Camp, Pilates for Dancers and Flexibility. All levels classes. No experience needed.
(via City Dance Corps website)
Incorporate Ballet, Yoga and Pilates based movements for a continuous fat burning workout. Feel long, lean and strong. Using upbeat music, this class will take you through core, balance and toning exercises for an increased fat burning dance class. The use of hand weights are incorporated for an intense port-a-bras and some floor work will get your muscles feeling long and lean. A City Dance Corps signature class which has been running since 2001! Those who take Ballet Boot Camp also like Power Barre, Flexibility and Stretch & Tone. No experience needed. (Via City Dance Corps website).