Interview with Bageshree Vaze

Bageshree Vaze spoke to us about her upcoming show Paratopia

April 23-25 | 8:00pm | Harbourfront Centre Theatre


DanceWorks: You will be featuring excerpts from past works such as Tarana, Avatar (9), and the CanAsian Dance Festival commissioned-work In My (Dis)Place, along with a new commissioned group work entitled Paratopia.  You say “the word ‘Paratopia’ connotes innovation and synthesis”. Are the separate works in Paratopia connected for you? How have the various elements and dance styles informed each other?

Bageshree Vaze: The word paratopia is actually translated as ‘displacement,’ but is a coined term based on a number of interpretations. I learned about the concept from a scholarly dance article written by Anurima Banerjee, in which she describes paratopias of performance in relation to Indian classical dance. The idea is that a paratopia is a place of alterity, one which can exist alongside mainstream culture, and can be both a reflection and a reaction to it, resulting in innovation and synthesis. Banerjee describes modern-day Indian dance performance as creating an ‘alternate’ world, and it made me think about how Indian dance, while perceived as traditional, is constantly defining its identity in a new time and place. Indian classical dances first originated in very unique settings of temples and royal courts, but found themselves thrust onto the modern stage in the mid-twentieth century. They weren’t necessarily created for this environment, but have now become shaped by modern production values and audiences. Contemporary dance practice in the Western world has evolved in a similar way, as a reaction to what existed before, and one sees the parameters of the dance practice evolving with each decade. In a sense, we are all trying to define ourselves in our changing ‘paratopia’ reality.

“The idea is that a paratopia is a place of alterity”


The separate works in Paratopia are connected in this way, in that while they depict different parameters of Kathak dance, they have all been created with this vision of a new place and time. They are choreographic works that draw from the essence of Kathak technique, but were created in Canada, with different mentors and collaborators from non-Indian backgrounds. I think it’s a great reflection that the whole notion of what ‘contemporary’ means is changing and being re-interpreted, even though ironically, what people perceive as ‘contemporary’ dance has become quite traditional and solidified. For the new work involving artists trained in other styles such as urban and contemporary dance, we are using Kathak rhythmic and movement language as the choreographic base, but trying to open up more movement possibilities drawing from these different techniques.


Bageshree 2015-15

DW: You write that “people think of Kathak dance as traditional, but it is very contemporary, and evolves everyday.” What excites you most about the evolution of Kathak dance in your own practice?
BV: There is no reason not to think of Kathak as contemporary – what we identify today as its signature technical qualities were defined in the 20th century, probably the same time frame in which contemporary dance was codified. But because Kathak originates from a very ancient, non-Western culture, people will naturally think of it as traditional. There is also the perception of Indian culture as ‘exotic’ because of the association with mythological characters and Hindu gods and goddesses, and much of the storytelling in Indian classical dances depicts this element.

However, because Kathak choreography is drawn from the language of the tabla drums, it is open to individual interpretation. While dancers learn a certain amount of material from their teachers, they are encouraged to develop command over the rhythmic language and use it to create their own work – it’s not just about pressing ‘play’ on the CD or iPod player! I have been very fortunate to work with an incredible tabla player, Vineet Vyas, and how good your tabla accompanist is can make or break your work as a Kathak dancer. And even though nowadays there is little emphasis on the need for dancers to also have a solid knowledge in music, my vocal music training has aided me greatly in creating music for dance. When I was younger, I was always hampered by the fact that there is little access to music for Indian classical dance, and that led me to create the music for my ‘Tarana’ and ‘Ragas and Rhythms’ CDs, which feature songs that can be choreographed and performed. I’m happy to say that thanks to iTunes, one can find a number of interpretations of my songs by Kathak dancers all over the world (you can find these on YouTube!)

“How good your tabla accompanist is can make or break your work as a Kathak dancer”


DW: Your website says “Inspired by The Matrix movies (which were inspired by Indian philosophy), Paratopia combines Kathak rhythms and dance with Urban/Hip Hop beats and choreography.” What was your process for integrating ideas, images or themes from ‘The Matrix’ into dance?

BV: The Matrix is really a starting point for inspiration. The movies are based on the idea of the world as an illusionary place, one that is not real. This comes from the Hindu philosophical concept of ‘Maya,’ in which humans must navigate through an illusionary world. This made me think of the connection to Paratopia, and the idea that we are experiencing an alternate reality that is constantly changing and being displaced, and it is often difficult to determine what is real and unreal. The agents in the Matrix are metaphors of how people are not supposed to stray from homogeneity, and the battle of human life is finding a balance between resistance and harmony. We now live in a globalized, Internet-connected world where ‘homogeneity’ is constantly being questioned and re-interpreted. So the new work will draw from this idea of using a ‘code’ to navigate through an alternate world with different bodies and languages to determine what reality actually can be with co-existing opposition and agreement. You won’t see battling agents in suits or airbending (well maybe a little bit), but rather a dance piece that is based on Kathak and Tabla rhythmic ‘code,’ and drawing from a base of rhythmic beat language one finds in both Kathak and urban dance choreography.


April 23-25, 2015


Harbourfront Centre Theatre

Interview with Forcier/Norman

We spoke with Marie France Forcier and Tracey Norman about their upcoming double bill Forcier/Norman

March 12-14 | 8pm |  Harbourfront Centre Theatre

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DanceWorks: “The basis for [Norman’s] dance is the energy that exists and transforms between people and its impact on relationships, loss, attraction and decision. The phenomenon of one person’s thoughts or emotions affecting another’s mood, otherwise known as emotional contagion or synchrony, is explored physically.” Tracey, in exploring emotional transference, what were the ways or processes you used to approach it through movement?

“dance is really a communal experience”


Tracey Norman: Well, I would say that first of all the interest grew naturally out of working in the studio on past creative processes and becoming aware of the energy shifts and impact we have on one another. As a choreographer, you’re somewhat removed at times from the multitude of sensorial experiences taking place or the changing emotions among a group, but it also gives me a vantage point where I often feel inside/outside of the group and can witness or feel things unfolding between people or in response to what I propose. It’s an interesting space to study group dynamics. Additionally, I’d just come off of creating two duets (Witness and 43°N 79°W), one in which I was working with the observer theory or the affect witnessing has on the other’s experience, and another duet involving the use of our senses to navigate space and relationships. Naturally, I carried over some of the ways of working/researching continuing from where I’d left off with those processes.

The other interesting thing is that over the process of this work, I’ve worked with different dancers and witnessed how tasks and ideas affected people differently and in turn affected the group differently. When we initially began, we played a lot with locating emotion in the body and looked for ways to pass this among the group, largely improvisatory in nature. The dance is really a communal experience and so often we performed tasks in rehearsal that involved the idea of community – for example, I would bring a movement idea to the studio and each dancer would have a chance to work on their own with the movement and then we would share/learn each others’ movements and build phrases from there.

“We played a lot with locating emotion in the body”


I love working with stillness or interruptions to movement and having tasks within those and this was often a way to play with checking in with the group. Eye contact is a big part of the dance, but so are other senses – listening, touching and the less tangible ideas of “feeling” connected or disconnected from another. Often warm-ups or play found their way into the choreography – for example, asking them to start and stop in unison without looking at one another as a warm-up has become embedded into sections of the choreography. Or often I would ask them to only go as far apart from each other as they could without losing their feeling of connection/energy or the opposite. Then there were methods of creating material in which the rules were they were literally not allowed to come out of physical contact or creating dances in contact which then were split apart… and what is it like to solo a contact dance. Overall, trying to approach the idea of emotional transference from many different angles and as the dance started to build, looking for ways to highlight what is already in the room through imagery, pacing, sound, etc. For example, I didn’t intend or plan on say Beth (Despres) and Brittany (Duggan) having a tender relationship in the dance or Beth having some sort of quiet leadership or control but that emerged and we ride along with it or highlight it.

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DW: “In continuation with her research on the post-traumatic in choreography, Forcier explores the somatic repercussions of abuse. Suggestive, the works indirectly highlights the rise of trauma culture and our growing desensitization to violence and sexual voyeurism for their entertainment value.” Marie France, what about this topic possess you to continually explore it?

Marie France Forcier: A few years ago now, I started cultivating an appreciation for the aesthetics of discomfort in dance and other art forms. From first manifesting in my preferences for other artists’ work, this appreciation eventually seeped into my choreography; unconsciously at first, and then in response to a growing insistence of dissociative-like imagery and emotional dissonance in my practice. I eventually recognized that these repeating images were involuntary reflections of certain post-traumatic states I had embodied a decade earlier following a series of psychologically traumatic incidents. Curious to know whether I could turn from a passive participant to an active one in these aesthetic drives, I dedicated my master’s thesis (at York University) to the investigation of the post-traumatic lens in the choreographer’s work.

“kinaesthetic recognition is a powerful tool to fight off isolation”


The research and the dances works produced, beyond changing my paradigm of choreography and helping me embrace the reality of my post-traumatic life for its artistic potential, prompted several audience members and fellow academics– most of whom were complete strangers– to approach me and share their own experiences of psychological trauma, having recognized part of themselves in the performances. This made me realize two things: that kinaesthetic recognition is a powerful tool to fight off isolation, and that personal violation is far more common than we feel comfortable acknowledging as a society.

Of course, I don’t imagine that I will keep producing work around PTSD forever, but it was important for me to apply what I had gleaned over the course of my academic research to at least one professional process, to see how working with mature performers, in different conditions, may create opportunities for bolder, more impactful outcomes.

“I started cultivating an appreciation for the aesthetics of discomfort in dance and other art forms”



DW: For both Marie France and Tracey, how do you understand the two pieces intersecting, informing and influencing each other? What do you anticipate for the audience’s experience as a whole?

TN: I don’t think we set out on this production planning to connect the works thematically or create obvious links between the works necessarily. That said, Marie France and I are at similar places in our careers, we’re both working in different ways at this point in our careers than we were earlier on, we share a mentor/outside eye in Julia Sasso, and Marie France was an integral part of the creation of my work for the production as an interpreter/collaborator. Therefore, I believe there are connections and influences we have on each other’s work.

We both create contemporary work and collaborate with our dancers in terms of developing the material, yet our work is quite different and complimentary. I think we’re both exploring elements of the human condition but the tone and environment in each work is clearly different. I feel like there are moments of darkness or desolate images in my work but the overall quality is one of lightness or constant connection, whereas with Marie’s I feel there are moments of absurdity or sadistic humour that momentarily allow you to reflect on the tension in the work. So maybe this is another way the works compliment one another.

“we’re both exploring elements of the human condition but the tone and environment is clearly different”


I also think that when you’re involved with a partner on production over a long period of time, you have conversations about the works, view each others’ work-in-progress and in the case of Marie she was a collaborator in creating my work and so there are ways we’ve been influencing and informing each other all along. This is what I love. We’re not so much creating apart from each other and then coming together for the week of production, we’re talking as collaborators do, supporting each other’s processes and discussing how these works might look and feel together.

Overall, I think the audience will feel how these works are almost like two sides of a coin and I think there are likely intersections and implications the works have on one another that I won’t comprehend until I sit in the audience and view the two works beside each other. I think the audience will also experience the fearlessness, intimacy, and commitment of the performers and the holistic integration of the musical compositions and lighting design as integral elements of the production.

“these works are almost like two sides of a coin”


MFF: Tracey has pretty much just said it all… I would add that the works are indeed very different, but in a way that I hope will highlight one another’s specificities. The audience will be exposed to abstraction, refinement and movement craft with what goes between, and to implicit imagery, emotional discomfort and perhaps a dose of cognitive dissonance with Scars are All the Rage.

In my opinion, programs that reflect such range are very interesting because they give their audiences a chance to process dance– an abstract and ephemeral medium– by comparison, hence providing greater opportunity for appreciating the nuances and/or intentions inherent to each work.



Marie France Forcier : Scars are All the Rage 

Tracey Norman : what goes between

March 12-14


Harboufront Centre Theatre

Interview with Sylvain Émard

We spoke with Sylvain Émard about his piece Ce n’est pas la fin du monde (It’s not the end of the world)
Join us for a one night only performance on Saturday Feb 28th at 8pm (followed by a reception and silent auction)

Fleck Dance Theatre  |

Emard BY Jean Baptiste Bucau DANCERS Neil Sochasky, Justin Gionet

DanceWorks: Ce n’est pas la fin du monde (It’s not the end of the world) showcases male dancers.What inspired you to create a piece performed by only men? Does this work explore gender?

Sylvain Émard: I find working with either an exclusive male or female cast offers a wider range of expression. The audience’s perception is different simply by the fact that the dance is not trapped in a love/seduction mode by seeing men and women sharing the stage. A same sex cast doesn’t exclude that but it is not confined by it.

Without being the main subject of the piece, manhood is certainly an important aspect of it. Because we have in front of us a group of seven men dancing, we, as an audience, watch the dance through a gender point of view. Being a male choreographer, I certainly project myself into the work.


“By using urgency as a key motivation for movement it allowed us, the dancers and me, to access the tension I was looking for”


DW: Your website states, “I am trying to develop dance that is anchored in everyday life, without losing its poetry. I want to concentrate on what is at the very heart of life in our society.” What are some of the processes you use in attempting to achieve this? How do you explore the everyday through aesthetic dance vocabulary?

SÉ: It has to do with a state of mind. I am exploring a body language that is in phase with today’s world. More recently, my concerns have more to do with how we as humans survive while facing the world’s drastic transformation. For example, Fragments – Volume I and Ce n’est pas la fin du monde were both based on the notion of urgency. By using urgency as a key motivation for movement it allowed us, the dancers and me, to access the tension I was looking for.


Sylvain Emard 2

“I am always looking for the right balance between strength and vulnerability”


DW: You also state that “each performance is necessarily of the moment. It follows that dance must be constantly renewed.” It seems that immediacy is an important aspect of your work. How do you keep things alive and responsive on stage?

SÉ: Dance is a transitory form of art. It is a living art and I like to take advantage of it by allowing myself to make changes if I feel it will serve the piece. I see those changes like a form of dialogue between the dancers and me. As they perform the piece more and more they also infuse the work with their own sensitivity which make me see the piece differently and stimulates me.

Also, I am aware that my work can be very challenging for the dancers. I am always looking for the right balance between strength and vulnerability. Making changes can also contribute to maintain an appropriate degree of presence and awareness on stage.


Sylvain Émard : Ce n’est pas la fin du monde

Saturday February 28, 2015

Fleck Dance Theatre 8pm

Interview with Vincent Mantsoe

We spoke with Vincent Mantsoe about his pieces NTU and Skwatta

He will perform at DanceWorks Jan 29-31st at the Harbourfront Centre Theatre



DanceWorks: NTU means ‘nothingness’ and Skwatta refers to South Africa’s squatter camps. Why did you choose to express these concepts/states/ideas through dance? How do you understand these two pieces as relating to each other?

Vincent Sekwati Mantsoe: Even though “Nothing” pervades, something always take shape/form, either materialized or spiritually. Both NTU and Skwatta have been created for open dialogues, so I come to believe that both solos are connected either by the states of spirituality, humanity, poverty, pride and so on. NTU is nothing; you as an audience you can create and re-create this path for yourself and see where the path takes you, yet within this Nothingness, the simplicity of nothing, the state of something take shape. In this case Skwatta is the cure fact of how ‘underprivileged’ still live under dyer situations and this is not a unique condition only in South Africa but all over the world. The poor still get even poor and the rich still even richer.


“You as an audience you can create and re-create this path for yourself”


DW: Culture is something embodied; something we understand through being and living. How do you hold and express both traditional and contemporary elements within you and your work?

VSM: Well, It has been a bumpy road, but as long as I stand, walk, talk and can still express different issues or elements through my body, cultural preservation in the 21st century has always been my true ally. I also hold great respect for tradition, African, Asian and western. And living in the 21st century, I try to adapt old traditions, carefully crafted to be on an international arena where individuals can be inspired or simply travel a new path. Bumpy roads are simply obstacle that can be cleared with patience, and being true to your art. Over the years, I have been slowly crafting these elements. Do they fail? Do they work? Yes, they do. But the philosophy in both my work and in me thrives to be honest and be what it is.


“Bumpy roads are simply obstacle that can be cleared with patience, and being true to your art”


DW: How do certain places affect what you create? How does traveling to different places around the world affect the work you do?

VSM: Even though I am based in France, my work is very much rooted in Africa, specifically South Africa. Hence traveling around educates me in learning more of different cultures and how it can or cannot affect where I come from. Human culture/traditions have evolved, that is the nature of things. How it affects me and who I am matters as to how I create my work one way or another.


For tickets, visit:

For more information on DanceWorks and Vincent Mantsoe, visit our website, follow us on Twitter @DanceWorksTO or friend us on Facebook

Vincent Mantsoe interview with Mimi Beck (2005)

Vincent Mantsoe will be returning to Toronto January 29-31, 2015 – for tickets visit

The last time he graced the Toronto stage was a full decade ago!

DanceWorks’ curator Mimi Beck interviewed Vincent as part of the cultural dance dialogs series during his last visit




Interview with Heidi Strauss about elsewhere


We spoke with Heidi Strauss about her newest piece elsewhere which will have its world premiere at DanceWorks on Sept 25-27 at the Harbourfront Centre Theatre (formerly the Enwave)


What was your impetus to create a show about affect?

I was interested in getting deeper into things I was already exploring in solo work and small groups – intimacy, ways of connecting to take away pretense around performing, to expose oneself to the unknown – in a way, to look at potential, and where you are able to go when you depend on the experiences that have brought you this far. I think “affect” has been at play in most of my work, and maybe now I’m just naming it – beginning to understand what it is. elsewhere, in a metaphorical way, is about many things I believe to be simultaneously important – in the way I think about life, relationships and time, and how I see some of these things as intrinsically connected to the moving body. What are these things? Well, that there is potential in almost everything – even the things that at first seem impossible, or not worthwhile. When I consider the never-to-happen-again moment, which in fact, are almost all moments in our lives, I think of what it is to perform: to understand for brief periods the idea of a ‘heightened now’ but in the most everyday way – a being conscious of all that is happening, knowing so much is also feeding us subconsciously.

“I think “affect” has been at play in most of my work, and maybe now I’m just naming it”

The impetus was never about expounding upon a theory. It was about creating an alternate space where it was possible to expose and reflect on time, on relationships, the place we’re in, what is deeply in us.


How has elsewhere been different (in terms of creative process) compared to other work you’ve made?

It has been the longest creation period, in terms both of the actual duration of time with the creative collaborators, and the amount of time it took to make happen. But I wouldn’t say it has been comparatively different from other works. Each work feels part of a larger cycle of understanding or attunement to what speaks, and how to find it (with myself and other people). It’s all part of a larger cycle of understanding one’s process – I think. Working at the Theatre Centre on a new creation while working on the final stages of elsewhere really allowed me to recognize this more fully.

The premiere of the work at DanceWorks on September 25th is the beginning of a new phase of growth (a new process) for the work. In some ways this is the irony of making performance in a room with a bunch of empty chairs; one day there are people in those chairs, and that makes all the difference.


What were some of the approaches you used in translating/exploring affect theory into dance?

My intent was never to translate affect theory into movement through a methodology or an approach that was prescribed. I don’t believe a sense of affect would be in evidence if I had chosen or had the ability to do this. I worked with different structures to keep opening the door to changes in the room, to reading the space as it really is, to new sensations in the body, thoughts that intertwine with the experience of the physical interaction with other people and space.

“I asked myself to stop looking for answers”

In the very first process we worked with transposition (of movement structures, and memory-based embodiment) but by the time we met again, I recognized this as a superficial entry point – at least for me. So I asked myself to stop looking for answers; the end point is elusive when you are after potential, or when you look for what is concrete in what can only ever be ephemeral. No surprise that aspects of destabilization and control emerged after that in the work.
Without a doubt, the greatest asset to the exploration has been a group of dancers who are sensitized to each other and who each, individually, carry a breadth of experience that enable them a personal way of being in elsewhere.


For more information on DanceWorks and elsewhere visit our website, follow us on Twitter @DanceWorksTO or friend us on Facebook

Alive and Kicking: An interview with Jennifer Robichaud, Artistic director of Larchaud Dance Project – By Lucy Rupert

Larchaud’s latest production, “Back to X” has taken interrogation techniques as a starting point for a full-throttle exploration of contemporary dance and breakdance.

What made you want to form your company Larchaud Dance Project? What artistic questions do you pursue?

Larchaud Dance Project was formed with the intention to produce work with mainstream appeal and artistic integrity.  As an emerging dancer, I felt that there weren’t many companies that I could identify with, or there weren’t any opportunities with those that I was interested in.  The only solution that I saw was to establish something relevant to my interests, creatively, aesthetically and philosophically. In another light, one could say that the company was formed out of sheer determination, fearlessness, and a complete no-holds barred approach.

Larchaud Dance Project is dedicated to creating dance that pushes boundaries and exposes new audiences to dance through mainstream culture, producing work that is accessible to everyone, and layered to appeal to all ages. Larchaud Dance Project delivers a preservation of the technique and standard of breaking from some of the city’s originators with an array of contemporary styles ranging from modern to jazz to African. The company elevates the art of breaking to the stage, and increases exposure of contemporary dance to unlikely audiences by taking it to the street. We want to create art that is not merely a spectacle of entertainment, but questions the harsh realities of today’s world, engages youth, and acts as a vehicle for social change.

How did you find your collaborators?

Jase Cozmic, my co-choreographer on many endeavours, and I met at in 2005 when I was looking for a breaker that had strong overall dance abilities, was interested in different art forms and willing to experiment with different social, artistic, and kinesthetic ideas.  Cozmic, one of the founding members of the legendary crew Intrikit, fit the bill on all levels, and, in his words, had just hung up his dancin’ shoes.  It took some persuading, but he came out retirement, and has been a strong influence on all of our productions.

LeeAnne Charlton has been a friend and colleague of mine since in the dance program at York University.  As one of the original members of Larchaud Dance Project, she not only shares my ideals and expectations, but also challenges my ideas, my choreographic choices, and production decisions.

Do you have any major influences outside the dance sphere?

Martial arts and commercial choreography, Pop culture and youth, social trends and action movies (they’re my favourite).

Speaking of action movies, you have cited Quentin Tarantino as an inspiration. What aspects of his film work inspire you and how might we find them in “Back to X”?

I have always been very intrigued by the work of film writer and director Quentin Tarantino, and decided to model “Back to X” after the highly stylized characteristics of his films; sharp dialogue/choreography, splintered chronology, pop culture obsessions, the timing, patterning, and precision of choreographed martial arts, and the ruthless attitude towards character and storyline.

The Tarantino world finds is somewhere in the intersectional setting of a classic Film-noir and a cult Pulp novella. All his stories take place in a single big city with an air of crime, all characters with a inclination towards sin and fearlessness. The characters are very basic (i.e. the gangsters, the femmes fatales, the ruthless big boss etc.) and the typical lot you’ll find in any crime-movie with a certain added depth to their personae. The through-line of “Back to X” follows a format similar to this.

In every Tarantino film, we find the characters involved in conversations that seem completely pointless. What initially seems like a parlour trick to extend the running time of the film later turns out to be an essential part in a shift of mood. This has become a mainstay of Larchaud productions over time: a short piece of choreography or transition that initially seems out of place, but by the end you realize it has altered the storyline or added an element that is absolutely necessary.

“Back to X” will give a glimpse into the circumstances of seven characters, brought together through a harsh imprisonment.  Chopped-up segments of film will fill the gaps of time unknown on stage. The company will transform the space into a confinement, both physically and conceptually, that the audience will be a part of. The audience will begin to learn how these individuals are linked to each other. Would one answer differently while interrogated if they knew that their words would affect someone else either positively or negatively?  When the decision to answer one way over another can change everything in a split second, the moments before and after become increasingly important.

How did you research interrogation techniques while working on this project?

I watched footage and film from survivors and interrogators and compared it to how interrogation is represented in the movies. Interrogation in everyday life was also an aspect that I looked at, and researched human responses and actions to these situations. Using the feelings evoked in these circumstances and manipulations as a base point for choreography.

What is your favourite city/place and why?

So far, my favourite city is Shanghai because of its extremes.  Like any big city, it is rich in history and culture but there is also a seediness to it that captivates me.  What can be the most beautiful also has the tendency to be the ugliest; this contradiction in cities and life is most interesting.  BUT Vegas is always fun!

What was the last music you downloaded/purchased?

Soundtrack of Standard Operating Procedures – inspiration for a duet for Zhenya Cerneacov and Amy Hampton for “Back to X”.

What do you hope audiences will experience at your performance?

I hope that “Back to X” will visually stimulate audiences, and allow them to feel the reactions of our characters in this world that we have created for them.  I hope that we tell them a story that plays to, and upon, their senses, fears and beliefs.  I would also be lying if I said that I didn’t want them to leave thinking that they just saw some kick-ass dancing!

Larchaud Dance ProjectBack to X

Dec 3 – 5, 2009, 8pm, Dec 6, 2009 2pm

Theatre Centre, 1087 Queen St West

Tickets: $25 or $20 in advance (Adults), $15 Students, Seniors,CADA
Box Office: 416 204 1082
email: or visit website

Choreographers: Jennifer Robichaud, Jase Cozmic, Lee-Anne Charlton
Performers: Robyn Alfonso, Zhenya Cerneacov, Jase Cozmic, Amy Hampton, Mayumi Lashbrook, Aaron Piepszny, Jennifer Robichaud
Lighting: Siobhan Sleath