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

    - resume 

    - letters of recommendation (optional)

    - Any conflicts with schedule

     Email by 5pm on Wednesday April 25th, 2018.

    Rehearsal Schedule:

    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.

    Thank you.



    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
    to another.

    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
    everything changes.


  • Toronto Dance Teacher Expo 2017

    Toronto Dance Teacher Expo 2017


    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 :)

    Toronto Dance Teacher Expo - "Engaging the Creative Dancer - Improvisation" NOTES

  • New Creation to be presented at the New Blue Emerging Dance Festival

    New Creation to be presented at the New Blue Emerging Dance Festival

    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.


  • I <3 the Garage

    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.


  • Kylie teaching workshops at the Toronto Dance Teacher Expo

    Kylie teaching workshops at the Toronto Dance Teacher Expo

    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.

  • Updated Drop-in Schedule

    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


    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.

    Jazz Choreography

    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.

    Power Barre

    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 FlexibilityAll levels classes. No experience needed.
    (via City Dance Corps website)

    Ballet Bootcamp

    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).


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