Spotlight: Katherine Kumpula

Katherine Kumpula.

Katherine Kumpula, on a recent visit to Calgary.

For Katherine Kumpula, dance is a “never-ending art.”

“Dance is a multi-dimensional experience [that] encompasses so many of the senses,” said the Toronto-based dancer. “The music, the timing, the visual aspect of everything from the audience’s perspective. Then, there’s the whole story behind it. Exploring all of those is such a multi-faceted experience.”

Kumpula started dancing at the age of three, beginning with classical ballet. As the years went on, the dancer, intrigued by the abstract, pushed towards contemporary dance. Kumpula attributes the shift in styles to her growing into her own as a dancer.

“Behind dance there is always the technique, and that’s what everyone starts with because you need the foundation in order to progress,” explained Kumpula. “The early years are often…technique-based. You spend a long time building your technique.”

“As you get older, you get to experiment with things…the creativity came out a lot more as I got older. Thinking about a piece of dance as a full thing onto itself beyond its technique.”

Today, Kumpula applies what she has learned over the years with Silhouettes Dance Company.

Founded in 2002 by Caryl Mostacho and Alesia Kachur, Silhouettes Dance Company is a performance-based dance troupe at the University of Toronto that performs several times over the year, ending its season with an annual showcase. The company adheres to values that promote a positive learning environment where both new and seasoned dancers can learn from one another.

“It’s choreography that’s made by the company members,” said Kumpula about Silhouettes Dance Company. “It is a space where there isn’t really a ton of restriction on the kind of choreography you can make. It’s a free space for people to experiment with different ideas.”

Katherine Kumpula,

Katherine Kumpula, “The Nights,” Silhouettes Dance (2015). Photo Credit: John Yelinek.

Last year, she choreographed a piece for the company that explored the dancer’s quest for perfection. It is an experience dancers know all too well, says Kumpula.

“The quest for perfection and how you’ve got this ideal you are working towards, but you’ll never quite get there. That’s a very angst-filled experience, and it’s a very emotional experience for a lot of dancers…because you’re always trying to fit this ideal which is essentially impossible to fit. By the very nature of it, it will never be perfect, but there is a big pressure with how demanding dance is to be perfect.”

But these days, dance is more an escape for Kumpula than something that causes her stress.

“[Dance] is very therapeutic. It’s therapeutic for me to have that [creative] outlet and to do something totally different than what I am doing the rest of the time,” said Kumpula who works at the hospital as a nurse.

Kumpula says dance is important too for the social connection, connecting with those who have a wide-variety of interests and, at the same time, want to keep their passion for dance alive. And though her journey through dance has seen many changes over the years, Kumpula’s passion for dance has been constant.

After all, dance is never-ending.


For more information about Silhouettes Dance Company, visit: http://silhouettes.sa.utoronto.ca/

Post-Show Discussion: Gravel, Vigneault on Usually Beauty Fails

Frédérick Gravel & Groupe d’Art Gravel Art Group’s Usually Beauty Fails opened April 15th at Theatre Junction. Audience members were invited to a reception following the performance. Gravel and Lucie Vigneault were present and shared some of their thoughts on both the group and the show.

In 2001, Vigneault graduated from the Université du Québec à Montréal with a degree in Contemporary Dance Performance. Since then, Vigneault has danced with numerous companies and choreographers in Montreal. In 2006, Vigneault joined Groupe d’Art Gravel Art Group, or GAG.

Directed by Gravel, another UQUAM graduate, GAG is a “moving team of artists” that includes both musicians and dancers. That is to say, Usually Beauty Fails started with a different set of artists than the one’s who appeared on stage for its most recent run. Introducing new artists to the group is important because it brings new energy to the piece, Gravel explains.

“The piece is not about I created the piece, I wrote the piece and there is truth about it. It’s more like…I led a team of artists to create something. Then, when a new artist comes…the group evolves with whoever is in,” said Gravel. “It’s not just about a new artist to get what is going on and fit in. I choose people who will fit well in this energy with [our artists]. When I find these people, these kind of artists, I know they will fit in, and we will all be inspired by them. They will be inspired by what we are doing.”

With regards to the type of work GAG produces, Vigneault says it is the company’s focus on presence that appeals to her as a dancer.

Dancer Lucie Vigneault, opening night reception for Usually Beauty Fails.

Dancer Lucie Vigneault, Usually Beauty Fails’ opening night reception.

“There is something about the way to be present on stage that is really interesting for me, because we don’t want to be too much ‘representative’ in the performance for the public, but something more directly in the action,” said Vigneault.

Vigneault describes Usually Beauty Fails as a show about relationships and how complicated they can be sometimes. “It’s not easy, these relationships…like you want to do something, but there is always something that is not working.”

For Gravel, the relationship between audience and performer is one that takes considerable navigation.

“I think we are trying to be as live as we can be,” said Gravel. “We are still here, you’re still there with us, living in the moment…I know you are thinking about what is going on. Is it worth the time I am putting in? What does that mean?”

“I’m trying to just not get the audience to be numb. To get involved. Be engaged. To see my strategies, our strategies to be seductive, but still appreciate it and be into it…maybe see what is at stake and not just …“that was the greatest show!” and then forget about it. It has to be engaging. It has to be engaging and still seductive, because it is live performance.”


Frédérick Gravel & Groupe d’art Gravel Art Gravel Group’s Usually Beauty Fails ran at Theatre Junction, April 15 – 18.

For more information about the show, visit: http://www.theatrejunction.com/1415season/ubf/

Music and dance performers on stage
David Albert-Toth

Frédérick Gravel
Charles Lavoie
Vincent Legault
Brianna Lombardo
Peter Trosztmer
Lucie Vigneault
Jamie Wright

Dancers at Creation
Kimberley De Jong

Francis Ducharme
Frédérick Gravel
Brianna Lombardo
Frédéric Tavernini
Jamie Wright

Usually Beauty Fails Lands With Mixed Results

Frederick Gravel & GAG's Usually Beauty Fails opened April 18th at Theatre Junction GRAND.

Frédérick Gravel & Groupe d’art Gravel Art Gravel Group’s Usually Beauty Fails opened April 15th at Theatre Junction GRAND. Photo Credit: Denis Farley.

Loud and assertive, this is the way Frédérick Gravel & Groupe d’art Gravel Art Gravel Group’s Usually Beauty Fails opens. The music holds us down in our seats. The dancers, whose eyes were locked with ours just moments ago, escape into fervid movement.

Blending dance and live music, Usually Beauty Fails is a raw display of human emotion. Parts of it, anyway.

Gravel, the show’s creator, director, and choreographer, is the evening’s leading man. Taking the microphone between dance pieces, he shares his thoughts, which are largely self-deprecating, with the audience about the performance. Gravel’s charm is well received by the audience, albeit for a short while. Eventually, the audience’s laughter shifts from warm to tired and nervous as Gravel’s drawn out, wayward thoughts overstay their welcome.

Gravel’s band (Charles Lavoie, vocals/guitar; Vincent Legault, guitar; Gravel, vocals/guitar) perform a varied arrangement of music that sometimes rocks out loud, then other times goes for a soft, melodic sound. The rock pieces are not particularly interesting. The acoustic pieces, on the other hand, draw us in close with simple, tender lyrics that travel smoothly thanks to Lavoie’s clean vocals.

Likewise, the choreography resonates best in its quieter moments.

There is a moment where two of the dancers stand closely together, undress, and explore each other’s naked bodies. Soft pauses. Gentle touches. Nothing is said, and it does not feel like anything has to be said. In this moment that breathes and takes its time, we are witness to human affection in its purest form.

But then, in the show’s final piece, we are reminded of life as we share it together socially. The dancers change into fancy dress – cocktail dresses and suits. They open bottles of champagne and pour each other plenty (and then some). Besides quick whispers between the dancers, not too much is said. And not too much happens. It is as almost as if the dancers have slipped into disguises, masks; pretenses. The dancers look at each other from afar as though wanting to say something, but choosing not to. What keeps them from doing so? Whatever it is, the champagne eventually causes the dancers to throw caution to the wind.

These impactful moments are scarce, stuffed away in favor of presenting something big and loud. Something so big, in fact, that at one point the stage lights flash so hard that the audience has trouble keeping their eyes on the stage. It is then that point that one ask themselves whether this is a dance show, a rock show, or an uneven effort in trying to accomplish both at the same time.

The show’s main problem, though, is that Gravel seems more interested in speaking about the work than allowing the work to speak for itself. It is too bad considering that the work does at times succeed in stirring something intimately profound within us. Not to mention also that Gravel’s dancers, who move with vigor, feel terribly underused.

Presented by Theatre Junction, Usually Beauty Fails’ integration of live music and dance is mixed at best, resulting in a show that sometimes grabs our attention, but mainly pushes us away.


Frédérick Gravel & Groupe d’art Gravel Art Gravel Group’s Usually Beauty Fails ran at Theatre Junction, April 15 – 18.

For more information about the show, visit: http://www.theatrejunction.com/1415season/ubf/

Music and dance performers on stage
David Albert-Toth

Frédérick Gravel
Charles Lavoie
Vincent Legault
Brianna Lombardo
Peter Trosztmer
Lucie Vigneault
Jamie Wright

MoMo Dance Theatre Springs Forward With I Didn’t Wear My Raincoat

Pictured, MoMo Dance Theatre's Performance Ensemble member Kathy Austin in

Pictured, Kathy Austin in “We Have Come To Be Danced” (April ’12). Audiences can catch Austin in I Didn’t Wear My Raincoat which opens March 26th at the Vertigo Studio Theatre. Photo Credit: Matthew Brucker

Later this month, MoMo Dance Theatre will be presenting I Didn’t Wear My Raincoat. The company’s latest production will explore the four seasons with original work from its performance ensemble members and new work created by guest artists.

And as the company prepares for opening night, Artistic Director Mark Ikeda remembers when he first started working with MoMo Dance Theatre two years ago.

“Just walking into that door was like walking into a big hug. Everyone was so welcoming and just wanted to see what I had to share, and was so ready to engage” said Ikeda who was teaching workshops for the company at the time.

When it was announced that then Artistic Director Pam Boyd was leaving the company, Ikeda lept at the opportunity to fill the position. Ikeda says he was not only taken by the overwhelming positivity of the MoMo family, but that he was also impressed by the skill level going in.

“There are some challenges…but being able to launch into the work and really dig into some ideas has never been a problem…when I was welcomed by that idea I was enticed into the MoMo family.”

Founded in 2003, MoMo Mixed Ability Dance Theatre offers artists of all abilities and skill levels a range of classes focused on growth through creative movement. Currently, the company offers three adult classes and two youth classes. As well, MoMo offers performance opportunities for its members.

Part of the company’s mission is to facilitate artistic expression by removing barriers that might otherwise restrict the exchange of ideas between artists. For Ikeda, a combination of improvised and choreographed movement works best to achieve this mandate.

“While we do we have set choreography…other times we’ll explore a mood or an emotion or a thought or a color, even. Let’s say we’re exploring sunshine…we’re all going to move like sunshine until someone claps. And so, in that while everyone is in the same or at least similar idea and adapting it to their own bodies…they can move how they like to move and interpret the idea of sunshine [as they like]. It’s open to exploration.”

But in order for this exploration to truly take off, Ikeda says, an individual must first feel comfortable within the space. Ikeda explains that this turning point usually occurs after three classes.

“If someone will come to three classes, they’ll usually open up. That’s kind of the shifting point… for someone totally new to feel comfortable and engage in the activities. And so, after three classes, there’s that open – and again it’s like that family idea of who are you and how we can play? How can we enjoy each other in this art?”

This year, the first in a three year process, MoMo launched an outreach program to share their passion for play with various communities.

With funds received by The Calgary Foundation, the company has been able to partner with URSA (Universal Rehabilitation Service Agency), the Calgary Association of Self-Help, the Vecova Centre, and Carewest Garrison Green. In these spaces, MoMo’s dance teachers promote community and personal development through interdisciplinary, communal physical activity. What results is a holistic approach to wellness, something the partner organizations have praised.

“There’s a bunch of papers out right now about how interdisciplinary and communal physical activity is one of the strongest ways of bringing someone into an idea of what a community is…and the idea of empathy that if you’re doing the same thing as I am, I can see that not only are we a team, but you have your own unique way of doing things.”

“A lot of those intangibles…can’t really be measured or quantified…[but] when you can engage with someone creatively…be able to go into yourself, find an idea or thought or something that hasn’t existed either in you or outside of you before and share it with other people there is an intelligible connection that happens…MoMo has for over a decade now found a way to set that up for people who identify as having disabilities.”

And with MoMo’s spring performance fast approaching, the company looks to add another success to an already great year.

A dance piece audiences can expect to see in the production is one choreographed by Ikeda which incorporates the use of hand stilts. Hand stilts have been famously used in the Broadway adaptation of The Lion King to portray giraffes. Ensemble member Thomas Poulsen, who uses crutches, will be the performer raised off the ground alongside Ikeda.

“[I thought about] what would be a great duet with [Thomas] or piece for him. I thought of these hand stilts and how a lot of the movement I have to do to stay up on the hand stilts are quite similar to the movement he uses everyday and he uses on the dance floor. We’ve been exploring for a few weeks now and I really love where it’s going.”

And it is this love for play and exploration that makes MoMo Dance Theatre a company to watch.


MoMo Dance Theatre’s I Didn’t Wear My Raincoat runs March 26 – 28 at the Vertigo Studio Theatre.

Tickets can be purchased online here: momo.brownpapertickets.com

For more information on the company, visit: http://www.momodancetheatre.org/

Fire Exit Theatre & Corps Bara Dance Theatre Search For God in Absence

Corps Bara Dance Theatre rehearsing "Cleansing," one of six dance pieces in Absence. Photo Credit: Char G. Photography

Corps Bara Dance Theatre rehearsing “Cleansing,” one of six dance pieces in Absence. Photo Credit: Char G. Photography

What is the value of faith in a world full of injustices? This is one of many tough questions Fire Exit Theatre and Corps Bara Dance Theatre fearlessly tackle in Absence. Blending theatre and dance, Absence explores the doubt, fear, and perhaps even anger that some experience in their personal relationship with God.

Written and directed by Val Lieske, Absence stages three characters (played by Brendan Andrews, Jennifer Beacom, and Sarah Irwin) who feel utterly overwhelmed by the world. So overwhelmed by the world, in fact, that they are spiritually exhausted. For if God is everywhere, as he claims to be, then why do bad things continue to happen in our world today?

For these socially conscious youth, it is the poor and the downtrodden who suffer the most from God’s absence. And what frustrates the youth is that the marginalized are asked to remain firm in their faith. But how can one, the youth ask, trust in God when he has failed them, and so many others at home and abroad?

And their shared frustration reflects a larger phenomenon regarding youth and traditional teachings. For youth, of what relevance does the Bible have today in our chaotic world? How can we apply its teachings to unprecedented levels of disaster and conflict? And this scrutiny extends to the church where youth retention is a very present issue. What can the church do to help alleviate the dissatisfaction youth feel towards the Bible and its inadequacy to make sense of their everyday experiences? Lieske suggests that the church needs to modernize and acknowledge current affairs. Singing gospels can only get one so far in their spiritual journey, especially when there are so many questions to be asked. And so, the church needs to welcome and foster critical discussions where youth feel they can raise questions that challenge the foundations of faith.

Unfortunately, Absence lacks a central narrative to tie its main arguments together. The characters simply debate amongst themselves various positions regarding God’s inexplicable absence in the world. And they do so by making vague, heavy handed observations on politics, crime, and the media. So when there is a truly potent question raised, it has no support to carry it where it needs to go in order to have a real stimulating effect. Instead, the question becomes engulfed in an exasperating amount of talk.

Where the production does manage to hold our interest is in its six dance pieces led by Corps Bara’s dance ensemble (Laura Barcelo, Jessalyn Britton, Sarah Curtis, Valentia Dimitriou, Jason Galeos, Natalka Lewis, Sylvie Maquin, Caitlin Unrau). The reason being is that each piece is focused on one or two central ideas.

One particular piece that stands out is Cleansing, choreographed by Amy Meyers. Downstage centre, there is a bowl of holy water atop a pedestal. And the dancers each try to bring themselves to it, but they cannot for they feel unworthy. Externalized here is the spiritual agony that doubt creates. And it reads across the dancers’ faces and bodies as they frantically circle the holy water. The piece ends when finally, a dancer gives herself over and smashes the water with her hands. It is a striking image that brings the first act to a close.

And then, there is Cinch, choreographed by Krysten Blair. Setting up this piece is talk surrounding the debate between faith and reason; religion and science. And this piece explores this conversation with a recurring phrase of movement where the dancers pull apart threads or, depending on your perspective, split atoms. For once we apply scientific rationality to religious beliefs, we fall into an almost infinite series of questions that only lead to more questions.

These physical meditations of the soul are executed gracefully by the dancers.

But regardless, the sort of dramatic interest needed to fill an approx. two-hour run time is not here. The elements of the show operate in segments that result in a bland pattern of “acting/dancing/acting” and so on. There is no cohesion between the acting and dance segments until the end, but then it is too late. The audience is ready to exit the theatre.

Absence suffers from pacing issues and clumsy dialogue. While its dance pieces are exciting, the overall production lacks the necessary momentum to truly leave an impact on its audiences.


Fire Exit Theatre in partnership with Corps Bara Dance Theatre presented Absence at the Lantern Community Church, Feb. 25 – Mar 1, 2015.

For more information on
Fire Exit Theatre, visit: https://www.fireexit.ca/
Corps Bara Dance Theatre, visit: http://www.corpsbara.com/

Soulocentric’s Dance Cabaret Features Diverse Original Works by Local, National Dancers

Shelby Jansen and Allison Zwozdesky duke it out in Cooking Truths, one of eleven works presented in Soulocentric's Dance Cabaret. Photo Credit: Ben Laird Arts and Photo

Allison Zwozdesky (left) and Shelby Jansen (right) duke it out in Cooking Truths, one of eleven works presented in Soulocentric’s Dance Cabaret. Photo Credit: Ben Laird Arts and Photo

Presented at West Village Theatre, Soulocentric’s Dance Cabaret is a showcase of original works by both emerging and professional dancers. The Dance Cabaret runs as part of the company’s 2015 Contemporary Performance Showcase, formerly known as the Soulocentric Dance Festival.

Ranging in style and tone, the Dance Cabaret comprises of eleven works choreographed and performed by local and national dancers.

The showcase opens with Tangy Lime Dance Projects’ baBBLe ON, a contemporary stilt dance piece. Stilt dancer Allara Gooliaf impresses with the control and ease of effort she displays moving to the sounds of a bustling city. The urban soundscape mixed with Julie Funk’s active movement is reminiscent of the 1998 film Run Lola Run. The piece runs smoothly until Tara Blue, who is also on stilts, starts singing. The loud music overpowers the dancer who simply cannot compete, thus making the audience lost on the lyrics. As a result, the piece ends on a weak note.

Next, Kelsey Hanna and Megan Fraser take the stage for their contemporary piece From Silence. Hanna and Fraser, both professional graduate students from the School of Alberta Ballet, are a tight pairing in this piece that explores the difficulty of loving that which cause one pain.

Dario Charles’ solo piece Without Face follows. Charles confidently exposes and plays with the the impact social conventions have on our capacity for real, unmediated human interactions. One way Charles does this is by creating uneasiness through inactivity. Sitting down, adjusting himself for maximum comfort, Charles takes a stand against the expectations of the audience – performer relationship. Then, through repeated motions, the dancer emphasizes the scripted nature of our relationships with the other. Overall, Charles presents an interesting piece. (Although, at one point, Charles’ own script refers to non-existent armrests which does remove us from the narrative).

Natalka Lewis and her company Trip The Light Dance present Dandelion Children. A collaborative effort between Lewis and her seven dancers (Misha Behnia, Madison Dixon, Odessa Johnston, Christina Robertson, Janelle Shiffner, Jordan Wallan & Katherine Mandolidis), Dandelion Children stages the abusive relationship between a mother and her daughter. The ensemble reflects the complexity of these relationships in a recurring phrase of movement where one dancer supports the other, only to drop her suddenly onto the floor. And then, they switch positions; the abuser becomes the abused. The choreography is well-thought out, and clearly presents the narrative it sets out to tell. Although, the choreography does lack an exact moment where the daughter, played by Lewis, comes into her own, leaving something to be desired in terms of a cohesive resolution.

Halifax-based dance company Votive Dance tells its own narrative of control in Proven Lands (choreography by Catherine Hayward). Kathleen Doherty plays a sinister character/force that sets out to corrupt and manipulate Stephanie Mitro’s character who attempts to resist her influence. Doherty embodies very well the weight of conformity on the individual, and Mitro displays a great vulnerability in the piece. The piece does lose some steam near its end, which is drawn out quite slowly, but overall it is a solid piece from start to finish.

Der schuh-shoe-La chaussure, choreographed by Jason Owin Galeos, is the last piece before intermission. Interested in the shoes we wear and where they take us in life, the piece begins with four dancers – Galeos, Cenzia Nina Aviles, Meghann Michalsky, and Chandler Smith – who walk on stage holding in their arms various footwear. The piece fails to make its intentions clear, thus making it feel like a missed opportunity. Galeos’s choreography attempts to grasp onto a central idea, but leaves the audience with little going into intermission.

Taking us into the second act is Metamorphsis, choreographed and performed by Krizia Canvas Carlos and Aris Nsungani. Carlos and Nsungani light up the stage in this exciting urban dance fusion piece.

Choreographed by Naomi Lawson Baird, Jass Parlour’s Daughters of The Deep is a short jazz piece that features Baird, Kimberley Ilott, and Hannah McCathy. Well-executed, though not particularly memorable.

Performed by Terra Plum, Jessalyn Britton, and Janelle Schiffer, Tri Some blends jazz with West African dance forms. Plum’s upbeat choreography is delivered effortlessly by the dancers. The mix between the two dance styles makes for a very cool piece.

Carisa Hendrix brings a strong stage presence in Just For Me, a solo hula hoop act created by Hendrix. What makes this short, playful piece particularly entertaining is both the speed at which Hendrix maneuvers her hula hoop and the element of risk (e.g. the hoop hitting the floor, bringing the piece to a sudden stop) in the maneuvers she performs.

Shelby Jansen and Allison Zwozdesky bring the night to a close with Cooking Truths. In Cooking Truths, Jansen and Zwozdesky play two celebrity chefs competing against each other in the kitchen. There is an array of fun, bizarre moments, like Jansen plucking her rival’s heart out, that receive big laughs from the audience. And inventive staging keeps the piece moving forward as the dancers flip and fold tables to create big, epic moments of warfare (performed in slow motion, of course). The piece does take time to hit its stride, however, as its first couple minutes are rather clunky and awkward. Moreover, the piece might benefit from a shorter run time as it feels a little too loose in its current state.

Featuring a diverse range of original works, Soulocentric’s Dance Cabaret succeeds at entertaining, and giving audience members the opportunity to witness and support Canada’s independent artists.


Soulocentric’s Contemporary Performance Showcase ran at West Village Theatre, Feb 19-21 2015.

For more information on the company, visit: http://www.soulocentric.org/

 

W & M Physical Theatre’s Waiting Rooms in Heaven Reflects On The Life (Not) Lived

W & M Physical Theatre's Waiting Rooms in Heaven. Pictured: Laura Henley and Wojciech Mochniej. Photo Credit:

W & M Physical Theatre’s Waiting Rooms in Heaven. Pictured (left to right): Valerie Campbell, Laura Henley and Wojciech Mochniej. Photo Credit: Aldona B Photography

Presented at the University Theatre, W & M Physical Theatre’s preview of its latest work in development Waiting Rooms in Heaven summons poignant reflections on life and the life (not) lived.

The piece takes place inside a room decorated with pristine white chairs. The only exit is a door atop some stairs, but out this door are a flock of birds that obscure the sky. This place is nowhere exact or well-defined. It is a metaphysical space whereupon eight unfortunate individuals enter into without any answers nor any clarity. Regrets from the past soon reemerge and make heavy the souls of those trapped in this mysterious unknown.

There is woven into this piece this desire that life choices were not so permanent. It is an idea that repeats itself as a wish that life were written in pencil than in pen, that one could go back and do things differently. It is an idea, however, that removes the opportunity to not only learn, but to also experience life in the moment. After all, what is a life stripped of its spontaneity? What is a life interrupted by fear and anxiety?

Driving this idea of doing one’s life over again are the “what ifs” the adult characters of this piece find themselves trapped within. Repeated again and again are what the characters wish they could have done differently if only ‘this’ or ‘that’. It is fitting then that the there is an almost violent sense of control in the movement. As if trying to change the outcomes of some past scenarios, the dancers attempt to manipulate and bend to their will the other. Their efforts are in vain just as wondering “what if?” is a futile attempt at changing the past. Where they manage to exert any sort of “real” control is in throwing the rows of chairs into one large pile. Of course, what meaningful impact does such a destructive action have in the grand scheme of things?

The company has incorporated in this piece four actors who range from 10 to 60 years old. It makes sense that the two adult characters would carry some baggage as they certainly have had the years to accumulate such burdens, but what about the little girl and teenager trapped in this room with the others? How do they, who appear to be brother and sister, fit in this place? Perhaps their baggage is of the second-hand kind, the kind handed down through the generations. If this is the case, then perhaps their wish is not to have lived life differently, but to have been born into a whole different life altogether.

The piece ends on a hopeful tone when the door is opened once again and, this time, soaring birds greet the characters. It is an invitation to let go and move on, to fly away and live a life unrestrained.

Here, the company’s latest work explores the idea that the gravity of our burdens are only as great as we allow them to be. While the current circumstances of our lives may be cemented as a result of choices made, the life not yet lived remains to be written. And this life that waits for us relies upon on the right state of mind which, in the end, makes all the difference.

With this only being stage one of development, it will be interesting to see how the piece evolves and what it will ultimately resemble when W & M Physical Theatre brings Waiting Rooms in Heaven to Calgary again in 2016.


W & M Physical Theatre’s Waiting Rooms in Heaven ran at the University of Calgary’s University Theatre Jan 22 – 24, 2014. The piece was presented as part of U of C’s School of Creative and Performing Arts’ Dance Pro Series.

Choreographed by: Wojciech Mochniej with Melissa Monteros
Performers: Wojciech Mochniej, Laura Henley, Rufi O. Rodriguez, and Serenella Sol
Guest Performers: Valerie Campbell, Valerie Pearson, Griffin Cork, Ruby June Bishop, and Kent Brockman (bass)

For more information about the show, visit: 
http://wmdance.com/
http://scpa.ucalgary.ca/events/pro-series