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Canada's Royal Winnipeg Ballet salutes Dance in Canada on the occasion of their tenth birthday. s' Bo/let I Issue Number 38 Winter 1983/84 Hiver

Michael Crabb Editor/Redacteur FEATURES

Holly Small The First Decade 2 Assistant Editor/Redactrice adjointe Dance in Canada After 10 Years MICHAEL CRABB Jack Cunningham Advertising Representative/Publicite Big Ballet on the Small Screen: 5 Charters Litho Inc. CBC and the Royal Winnipeg Ballet Bring Romeo and Juliet Production to Television KEVIN SINGEN

Published quarterly by Dance in Canada Association (a non­ profit organization, registrati on #00221 -22-23) 38 Charles Who Needs Canadian Dance? 11 Street East, Toronto, M4Y !Tl , Ontario, (416) 921-5169. Stephan Dymond Executive Directo r. The views expressed in A Futile Search For National Identity th is publication are not necessarily those of Dance in Canada Association. All rights reserved. Copyright© 1983 by the MAX WYMAN Dance in Canada Association. Subscriptions: $ 10/year; S18/two years; $ 15 institutions. Outside Canada add $3.00. Back issues are available in microfilm from Micromedia Ltd., 144 Front St. West, Toronto, Ont. M5J 2L7. Limited copies of back issues are available at $3.50 each from the editori al Prime Mover Number One 15 office. Send change of address, subscription orders, back Grant Strate and Dance in Canada issue orders and undeliverable copies to Dance in Canada, 38 Charles Street East, Toronto M4 Y IT!, Ontario. Printed in MICHAEL CRABB Brampton, Ontario by Charters Litho Inc., Second cl ass mail registration #03874. Return postage guaranteed. ISSN 0317- 9737. Unsolicited manuscripts cannot be returned unless DEPARTMENTS accompanied by a stamped, self-addressed envelope. Dance in Canada publishes in official language of origin. In Review 21 Noticeboard 39 Special thank s to The Canada Council and The Ontario Ministry of Cit izenship and Cultu re. Book Beat 35 Letters to the Editor 47

Publication trimestrielle de I' Association Danse au Canada (organi sation 3 but non lucratif, numero d'enregistrement: 00221-22-23), 38 Charles Street East , Toronto M4Y !Tl , COVER Ontario (4 16) 92 1-5169. Directrice executive: Stephan Dymond. Les opinions exprimees dans ceue revue ne sont Design by Walter Stefoff of Hothouse, Toronto. pas necessaire ment celles de I' Assoc iation Danse au Canada. Tous droits reserves. Copyright© 1983 , Association Danse au Ca nada. Abonnements: un an: $ 10, deux a ns: $18, insti tu tions: SIS. Etranger: ajouter $3. Pour obten ir d'anciens CREDITS numeros sur microfilm, s'adresser 3: Micromedia Ltd., 144 Front St. West, Toronto, Ont. MSJ 2L7. Un nombre limitC Andrew Oxenham, page 11, 24 Frederick Perry, page 39 d'anciens numeros sont d isponibles a u b ureau de la redaction National Ballet, page 13 Barry Gray, page 43 a $3.50 le numero. Adresser vos changement d'adresse, demande d'abonnement, commande d'anciens numeros et M ichael Crabb, page 15 , 17 Ormsby K. Ford , page 44 tous numeros non li vrCs a Danse au Canada, 38 Charles National Ballet Archives, page 16, 18 Street East, Toronto M4Y !Tl , O ntario. ImprimC a Brampton, Ontario par Chaners Lithe Inc., N° Ken Bell , page 17 , 44 d·enn:gbtn:mcnt

MICHAEL CRABB

The history of Dance in Canada magazine grams. She even suggested that there should editorially it functions as an independent properly begins with a rare and curious be a "Dear Canada Council" column in organ. In its early years, the magazine was folder-full of typed mimeographed sheets future issues. (That was never to be!) still viewed as DICA's own parish quarterly. entitled, "Dance Canada Publication Deeper into Publication Number 1 was Its concerns were very much oriented Number l ". That was in the fall of 1973. It an impressive section of "Letters from the toward the professional interests of dancers cost $1.00 and was available both in French Field", (the image of pioneering sowers and and companies. However, as the Associa­ and English. reapers lingers on) among which was a tion itself grew to incorporate a far more This modest little publication was pro­ missive signed by Eva von Gencsy, Trish broadly drawn membership, so the maga­ duced by a four-member committee which, Beatty and David Earle. zine grew as well. so it told its readers, had to send out two They offered a list of suggestions the third Under the guidance of Susan Cohen, who sets of invitations to elicit articles from what of which called for a "Dance Canada became editor with DICA's second publica­ was then known as "the field"! Magazine" which, they told us, should tion early in 1974, Dance in Canada, as it As ifto validate its authority, the include a directory of individuals, their was soon retitled, began to address a larger publication boldly declared its parentage. biographies and news of activities and audience with very diverse and often On page 3 it was stated that the publication "articles". They did not want to read unspecialized interests. was a "vehicle of the new Association which reviews! Not withstanding the pleas ofvon gave it birth". Much of that first issue was Well, pick up any recent issues of Dance in Gencsy, Beatty and Earle in that first issue, filled with information about the recently Canada and you 'II see that we've come a long Cohen introduced the magazine's very first incorporated Dance in Canada Association, way. In particular, an important change has review in the fall edition of 1975. It was an including a very useful summary of its occurred in the relationship between the mag­ elegantly written and intelligent examina­ origins by Dianne Miller. azine and its publisher, the Dance in Canada tion of feminist dance in the United There were no photographs, no cartoons, Association. It wasn't something that any­ Kingdom. The author was Penelope Doob, just print. Monique Michaud, then still body decided upon; it just happened. one of the best dance writers in Canada and known as Monique Aupy, Dance Officer of Today, although the magazine shares still, as you will see further on in these the Canada Council, submitted a friendly office space with the Association and is pages, a regular contributor. little guide to the agency's funding pro- administered by its Executive Director, Cohen had, however, already answered the call for a publication that would keep the geographically dispersed members of the dance community in touch with each other's C' est le l0e anniversaire du magazine Danse au Canada que nous celebrons dans ce activities. With her very first issue, she numero 38. Vous pensez sans doute que notre arithmetique laisse a desirer, mais 1983 created "Noticeboard" and, from what we marque notre JOe annee de publication. hear, it remains the magazine's most read Le magazine a ete en constante evolution au cours de cette premiere decennie et ii a section. subi d'importants changements dans !es premiers temps. Au tout debut, ce n' eta it qu'un Susan Cohen did not, however, want the assemblage de feuilles vol antes agraffees et regroupees dans une chemise. On a ensuite magazine to become inward looking. Her produit une veritable couverture, et pour la premiere fois dans le numero 3, nous own knowledge of the dance world made presentions des photos. her appreciate the value of looking beyond II afallu uncertain temps pour que le caractere du magazines' afjirme, mais en 1977. the country's borders from time to time. au moment du depart de Susan Cohen, la premiere redactrice en chef de Danse au She also championed the right of Canada, ii etait non seulement devenu un mo yen d' expression dans le milieu de la danse, contributors to say what they believed to be mais ii atteignait egalement le public amateur. true even if it meant harsh criticism of Dans !es annees qui ont suivi, la redaction a continue a elargir l'interet du magazine DICA member companies. By the time she parmi ses lecteurs. Le numero d' ete 1979 a publie pour la premiere fois des photos en relinquished the editorship to devote her couleur et certains changements Ont ete apportes a son format. C'est ce qui, petit apetit energies to the Ontario Arts Council, Susan lui a donne la presentation claire et elegante que nous connaissons. Et le magazine a Cohen had established the framework and conserve son caractere serieux sans tomber dans le pedantisme ni I' obscurantisme. substance of a small but significant arts Depuis sa creation, le magazine a re9u le soutien du conseil d' administration de publication. The magazine had acquired a I' Association Danse au Canada et du Conseil des Arts du Canada indirectement par son clean, distinctive design concept, was service de la danse et directement par son service des periodiques. Sans leur aide, le printed on coated paper, ran photographs magazine n' existerait pas. Maintenant que Michael Crabb a decide de quitter son paste and addressed itself to a wide range of dance de redacteur en chef qu'il a occupe depuis 1977, le magazine entre dans une nouvelle related topics. phase de son evolution. My job, from 1977 on, was to maintain and develop what Susan Cohen had DANCE IN CANADA 3

:mce in Canada editor Michael Crabb and assistant editor Holly Small leafing through past issues of the magazine. The current issue is their last.

established. I was also encouraged by all helped to give the magazine a fresher, We have not forgotten the importance of D CA's board of directors to make the more appealing look. hearing from the artists themselves either. magazine more accessible, to attract a The heart of it all, however, has remained Grant Strate, Erik Bruhn, Brian Macdonald roader audience and, by implication, to the writing. The magazine's growth has and Anton Dolin are among the many m rease its circulation. paralleled the incredible development of the contributors "from the field". Several of our There were no radical changes but slowly art across Canada which itself has been regular reviewers are also dancers and Holly Small, the magazine's assistant editor accompanied by the rapid emergence of a choreographers. since 1977, and myself have introduced a generation of writers eager to apply their It seems only yesterday that I started series of modifications designed to win new minds and pens to dance. work on my first issue of Dance in Canada readers without damaging the magazine's It may seem a little invidious to name and only the day before when I contributed credibility as a serious journal of the dance. names but few of our regular readers would my first article. But here I am after six years One of the most obvious changes has deny that in such contributors as Penelope passing on the editorship of a magazine that been the use of colour for our covers, since Doob, Graham Jackson, William Littler, has survived for a whole decade. And that the summer edition of 1979. In some Lauretta Thistle, Kati Vita, Leland Win­ survival should not be taken for granted. It respects this has proved to be a costly luxury dreich and Max Wyman, the magazine has couldn't have happened without the direct si nce its main purpose was to attract more been able to publish some of the most and encouraging support of the Canada casual buyers at the newstand. In fact, the persistently intelligent and thoughtful dance Council's Periodicals Section nor without bulk of our readers still receive the magazine writing to be found in any similar the indirect support, through DICA, of by individual subscription and would likely English-language publication. And they've the membership as well as such other keep taking it whether it contained colour done it all for peanuts! funding agencies as the Ontario Arts or not. But then we would have sacrificed Outstanding foreign writers have also Council, this year celebrating its 20th some very attractive images! Perhaps, on appeared in our pages over the past 10 Anniversary. second thoughts, it's worth the price. years: Nancy Goldner, Noel Goodwin, To all our readers, to the Association and The introduction of Photo-Gallery, Deborah Jowitt, Marcia Siegel and David its members and to our many dedicated represented in this issue by a photo-essay on Vaughan spring to mind. And in this issue, contributors: Thank you! the television production of Romeo and the Canadian-born dance critic of Britain's Happy Birthday Dance in Canada and Juliet, combined with slight modifications to Daily Telegraph, Fernau Hall, makes his good fortune in the next decade. our layout, including the use of subheads, first appearance in a Canadian magazine. 4 DANCE IN CANADA

Congratulations to Dance In Canada Magazine For Ten Years Excellent Coverage of the Canadian Dance Scene

Angel Dance and Gymwear, Toronto Anna Wyman Dance Theatre, Vancouver Bayview School of Ballet, Toronto Les Ballets Jazz, Montreal/foronto Capezio-Backstage, Toronto Centre For The Arts, Simon Fraser University, Burnaby, B.C. La Compagnie Dansepartout, Quebec La Compagnie De Danse Louise Latreille & Pointepienu, Montreal Concordia University, Montreal Dancemakers, Toronto Danny Grossman Dance Company, Toronto Dorothy Scruton, London Academy of Dance, London Koffler Centre Of The Arts, School of Dance, Toronto Lawrence And Miriam Adams, Arts I ntermedia, Toronto National Ballet School, Toronto Quinte Dance Centre, Belleville Sun Ergos, Calgary Theatrebooks, Toronto Tinda Holland School of Dance, Toronto Toronto Dance Theatre York University, Dance Department, Downsview Workouts (at Bellair), Toronto DANCE IN CANADA 5 ig Ballet on the Small Screen e CBC and the Royal Winnipeg Ballet ring Romeo and Juliet to Television VINSINGEN

- · ·deri ng the CBC's track record for ing big-budget extravaganzas after :• one screening, the evening of :ember 11, 1983, could be your only - e to see Emmy Award-winning -=--1or Norman Campbell's production of eo and Juliet, with the Royal Winnipeg e dancing Rudi van Dantzig's :"eography . .;:-or Campbell, whose television produc­ - credits both here and abroad fill several ges. bringing him honors and awards -e. the attitude of his CBC bosses ards many of the corporation's finest uctions is nothing short of heart- " •, ·ng. Of course", concedes the quiets po ken _ ~poser of Anne of Green Gables, "it's a - -:iey problem. It costs something to buy _ _-::-oadcas t rights but surely somewhere - -ey can be found. The present situation a.;t dooms television shows not to be _- more than once and yet many of the

Le 11 decembre prochain, le reseau :::nglais de la television de CBC presente -...ne production de 2 heures de Romeo et Juliette du danseur et choreographe Rudi van Dantzig du Royal Winnipeg Ballet. Le spectacle televise est realise par No rman Campbell, laureat du prix Emmy. Ses nombreux spectacles relevises ant remporte beaucoup de succes et Romeo et Juliette sera certainement un des meilleurs. Evelyn Hart et David Peregrine en sont !es ~·edettes, et pour la premiere fois dans ses 25 ans de carriere comme directeur artistique du RWB, Arnold Spohr interpretera le role de Friar Lawrence. Les danseurs ant repete dans !es studios du Ballet national du Canada aToronto, er le tournage a ete realise en six )ours dans !es studios de la CBC a Toronto. Les decors crees par James E. Jones ant ete particulierement apprecies par Evelyn Hart qui a declare, "J' ai enfin un vrai balcon sur lequel je peux me pencher". Les photos ant ete prises par Fred Phipps, photographe en chef aux services creatifs de la CBC a Toronto. A pensive Romeo: David Peregrine during a break from rehearsal.

, 1111.111111,~z T liet comes to Friar Laurence for help. Royal Winnipeg Ballet -ector Arnold Spohr and Evelyn Hart. DANCE IN CANADA 7

camera, to soar up high for a eagle-nest shot. When Campbell was taping Nutcracker with the RWB several years ago he had to open Studio 7's doors and cart his cameras outside to get the right shot. This time Jim Jones managed to provide a set which looks amazingly spacious while still leaving enough room for the dancers to move. The huge costs involved in producing a show as big as this meant keeping the total time required to a minimum. Rudi van Dantzig, who first choreographed this version of Romeo and Juliet to the Prokofiev score in 1967, could only spare three days to come to Toronto and approve the changes needed to shrink the production by more than 30 minutes. There were a further two days in the "dry" studio and then an all-too-brief six days for actual shooting. Miraculously, it was finished on time - but not quite soon enough for Campbell to attend Karen Kain's marriage ceremony! Van Dantzig still has not seen the finished product but Campbell hopes he'll be proud of it. "He was really great and so co-operative. When he left we all felt we had to do a good job - for him." "You always lose something with televi­ sion", commented van Dantzig during a short rehearsal break last May. "On the other hand you can get very close and become so much more involved with the - ;ehearsal at the National Ballet of Canada's Toronto studios: Evelyn Hart and television director acting". -:man Campbell. Everyone seemed delighted with Eveyln His new production of Romeo and Juliet Instead, Jim Jones designed Romeo and Hart although she herself was petrified ertainly be considered a classic if for no Juliet for television and the results are when it came to letting van Dantzig see the ·•'-er reason than the fact that it preserves splendid in their evocation of period and changes she had made to his choreography ·.: posterity a brilliant performance by the location - very medieval and very Italian. since first learning it in 1981. As it yal Winnipeg Ballet's leading ballerina, A lot of ingenuity went into stretching the happened, the Dutch National Ballet's E· elyn Hart. She dominates this TV bounds ofCBC's Toronto Studio 7. artistic director was pleased. "She has : oduction. Compared with the facilities of rival grown tremendously in the role since I last However, there's a lot more of interest networks in the city, Studio 7 is tiny. There's saw her." For Norman Campbell, Hart's appear- ur this particular Romeo and Juliet than no room to manouevre, to pull back the Hart alone. For one thing, it offers the ..nusual sight of Arnold Spohr, this season :::e ebrating 25 years as RWB's artistic rector, performing with his company. On · ge, the R WB uses one dancer to double - the Duke of Verona and Friar Laurence. That won't work on television - so Spohr ·tepped into stage costume for the first time al most a quarter century to portray :·oung Juliet's spiritual mentor. Of all Norman Campbell's many televi­ ·IOn productions of established story ballets, 1his Romeo and Juliet is, arguably, the most - unning to look at. The sets and costumes •or the stage version are by Toer van Schayk and, while the costumes stand up admirably to the close scrutiny of a camera, the sets roved to be unsuitable for the kind of roduction Campbell had in mind - one hat recreated the ballet within the confines o a TV studio. A di straught J uliet discovers that Romeo has killed hi mself. 8 DANCE IN CANADA

ance as Juliet had a marvelous historical twist to it. The last time he produced a Romeo and Juliet for television was in 1965 - with the National Ballet of Canada and a very young and intense Veronica Tennant in the title role. Sitting watching that show in a Peterborough, Ontario, living room was the I I-year-old Evelyn Hart. The performance convinced the skinny, high­ strung schoolgirl that she too wanted to be a beautiful ballerina and it made her a confirmed fan of Veronica Tennant. Who knows whether some other aspiring young dancer, watching Evelyn Hart on December 11, will not also be inspired by another memorable performance. "She was a dream", says Campbell of Hart's work in the studio. She was also the production's leading practical joker. While tape was rolling for the famous balcony scene Juliet poked her head through the thin curtains, looked around, retreated and then suddenly appeared with a huge pair of binoculars pressed to her eyes. In the bedroom scene, when Juliet is about to drink the potion provided by Friar Lau­ rence, Hart strode on brandishing a milk-shake glass spewing the heavy vapors of dry ice. For the solemn moment in the crypt when her Romeo, danced by David Peregrine, pulls away the cloth covering his beloved's body, what should he find but Hart clutching a doll. "Evelyn has a tremendous sense of fun. She can get very nervous herself but she knows how to relax the people around her", comments Norman Campbell. Hart also knows how to spellbind them. When it came to the final moments of the taping, when Juliet discovers the dead Romeo and clutches him to her breast, the Juliet ponders her fate after being told that she must carry Count Paris. studio was wrapped in a deathly hush. Hart,

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:s streaming down her cheeks, sobbed ly. The rest of the company and entire _ stood around in awe. When it was all .r there was a spontaneous burst of IaUSe. For Campbell, the production of Romeo Juliet has a happy ending. Had it been for the willing co-operation of the ·onal Ballet, the Winnipeggers would e had no adequate rehearsal space in ,onto. "People tend to think of the ·rion of Russian ballet where everyone • everyone and murder is just about to committed next week. But here you have . · ational Ballet opening its doors to her Canadian company so it can earse a rival production of Romeo and et. T hat's something that should go on - rd".

Fred Phipps e photographs accompanying this micle are all by Fred Phipps. Born in \'indsor, Ontario, he spent one year ~:udying photography at Ryerson Col­ -ge before joining the CBC in 1957. for the past 18 years he's worked in ·· e promotional area, in a division now own as Creative Services. His interest in photography began in - nday School but most of what he Royal Winnipeg Ballet stars Evelyn Hart and David Peregrine with television director Norman Campbell. ows has been self taught or learned '.- careful observation . . · owadays, with the title of Photo- - pher/ Editor, Phipps is responsible :or covering major CBC productions ~nd for supervising the freelancers who .Je sometimes brought in for special­ ized subjects. ··our role here", says Phipps, "is to . roduce good quality stuff that will be ed by the media. If we're talking :ibout colour then that means it must real ly colourful. You have to have an eye for what will work when it's :1nally printed in a newspaper or :nagazine". owadays most of the equipment he ses belongs to the CBC - a Ottawa, Ontario Nov. 7 Hasselblad, two 35mm Nikons with Belleville, Ontario Nov. 26 fi,·e lenses and one viewfinder Leica Ypsilanti, Michigan Nov. 28 · . 1,1,ith two lenses. Pittsburg, Pennsylvania Nov. 30 " I like sitting back in the shadows of Oswego, New York Dec. 3 , he studio with a 400mm lens", says Timmins, Ontario Dec. 8 Phi pps. "My job is to flatter my Toronto, Ontario Jan. 10-14 subjects". Information: 16131 235-7296 Phipps work has taken him as far afield as India and his subjects have been as diverse as violinist Yehudi ~enuhen, impersonator Rich Little and actress Grace Kelly. Theatre Ballet And as for dance? "I love it, but it's hard. I try to capture the less obvious of Canada moments. You have to learn to watch \"ery carefully and listen to the music". Lawrence Gradus, Artistic Director

DANCE IN CANADA 11 o Needs Canadian Dance? Futile Search For National Identity

WYMAN

-:nigrants often make the best patriots, of the Group of Seven and its evocation of long notes that can be found in the music of "' as a naturatized waver of the Canadian the physical presence of Canada as a some of his contemporaries). _ o r almost twice the lifespan of this possible parallel; to our heritage of Cana­ I think I have been wasting my time. gazine, I have done my best to argue that dian literature; even to our music (the It is one thing to have a community of - tional identity is certainly possible for composer R. Murray Schafer once sug­ individuals who have developed or are 71.adian dance, if not (he peers round gested to me in a fanciful way that it might developing personal identities as creators. In •ously) actually here yet. be possible to hear the cold expanse of the their dance-making, Brian Macdonald and · ave pointed to the landscape imagery northern Canadian landscape in the high, Judith Marcuse, for instance, are recogniza-

~ nadian dancers of Les Grands Ballets performing Serenade by Russian-American choreographer George Balanchine.

Dans la constante poursuite de notre "identite canadienne", ii semble que nous soyions arrives aserieusement nous meprendre sur la nature de la danse au Canada. II est trop facile de proferer de vagues generalisations sur le style et le car act ere des compagnies canadiennes et de declarer que certaines creations sont veritablement canadienn es. L' optique dans laquelle ces declarations sont faites est probablement Jausse. L'incroyable diversite et /'originalite de la danse au Canada sont ce qu'elle presente de plus interessant, et ii est done futile de vouloir appliquer ala danse des concep ts aussi essentiellement politiques que le nationalisme. 12 DANCE IN CANADA bly themselves. So are Paul-Andre Fortier cbuntry in the title implies a promise that we united Canada?), but the point remains: and Edouard Lock and Robert Desrosiers are getting a chance to read something support for the arts is a political act. and perhaps a dozen others. specifically about ourselves, rather than The official version puts it in a slightly But is there something about their work another dollop of condescending colonial­ different way. According to a recent that is recognizably Canadian? ism from the Brits, the French or the booklet, The Canada Council in the 1980s: I think not, and I am not convinced (my Americans. We recognize the names as the Applebaum-Hebert Report and Beyond, earlier flag-wagging notwithstanding) that those of our neighbours, and we feel the there are two valid and complementary there can ever be. Personal expressiveness is more significant for it. reasons for supporting the work of Cana­ a far cry from national representation. The reassurance may be comforting, but dian artists outside our borders: to foster There may well be exceptions to this - it has nothing to do with the development of their professional development a:nd interna­ the "English" ballets of Sir Frederick an identity. It is clear that we have so far tional careers, and to further good relations Ashton, the dynamic "American" style that been unable to come up with anything in between Canada and the rest of the world". George Balachine forged for the New York dance that we might put our hands on and There is increasing evidence, however, City Ballet, the heavy "Russianness" of the brandish aloft as Canadian. Certainly, the that parts of the rest of the world - the less Bolshoi - though I am by no means sure cliches - the notorious "prairie freshness" fortunate parts - are not entirely sure they I'd be willing (or able) to defend these wildly of the Royal Winnipeggers, the "self­ want these relations furthered, particularly generalized assumptions. effacing Canadian reserve" of the National when their furtherance is little more than a Ballet - won't do. Particularly the cliches. means to political message-making. "Personal expressiveness is Does Canada need an identity in dance? One of the implications of national a far cry from national The answer depends, to a certain extent, on touring, after all, is the idea that we have representation". what we intend by the national and something we think is worth showing you - international distribution of art. something we probably do better than you However, the obsession to identify Many, perhaps most performers devoutly or is unique to us, and something that ourselves as a nation remains. Acutely wish the chance to take their work to therefore makes us in some sense better aware of the giant at our shoulder, we let audiences beyond their immediate environ­ people than you. our sense of national insecurity (and its ment. Our governments encourage this. In counterpart, a desire for national assertion) Canada, national tours are popular and convince us that the mere proclamation of well-supported, and companies are able to "We take a keen pleasure in our name will tell us who we are. travel abroad with some regularity. It is not our obscurity, even as we What other magazine of dance finds it hard to see why. grumble about its effects". necessary to proclaim its nationality in its The arts provide a useful political tool. title? (Well, the one in Australia, actually.) I Andre Fortier, a former director of the That kind of cultural colonialism has don't mean to single out Dance in Canada; Canada Council, believes that cultural been visited on Canada for many years - the fact that it is the organ of the association nationalism (that is to say, the goal of so many years that many of us have come to might even qualify it as an exception. A national unity) and the enhancement of accept it as part of our very cultural identity wide range of Canadian magazines - national prestige have for half a century - and the desire to turn around and do Opera Canada, artscanada, Musicanada, provided the main motivation for govern­ similar things to someone else is probably, Cinema Canada, journals which some might ment action in the arts field. The action may by now, a race urge. regard as little more than house-magazines well be benign, the motives eminently I don't mean to ascribe any dark ulterior for cultural shut-ins - seem to operate worthwhile (how many of us would motives to a dance company's trips abroad; from the assumption that the mention of the complain about a justly and democratically I am fairly sure there are no intelligence operatives hiding in the RWB's travelling wardrobe. But there are better reasons than the buttressing of national influence and the Congratulations and Best Wishes to strengthening of colonial-style power to Dance in Canada Magazine on their 10th Anniversary! justify cultural interchange. We are, after all, at a time when it is more From important than it has ever been to THE DANCE DEPARTMENT understand the variety of historical, cultu­ ral, religious and ethnic experiences of other UNIVERSITY OF WATERLOO peoples. And on this topic it is worth listening to Offering Bachelor of Science the Mexican specialist on international affairs, Jorge Alberto Lozoya, who spoke at and Bachelor of Arts degrees. the Art and Reality conference in Van­ couver last year during a session on the arts Program streaming in: Contact: and Internationalism. • working with children and adolescents Dance Department He warned of the manner in which the • dance notation (Benesh and Laban) University of Waterloo poor countries of the Third World are growing increasingly resentful of wealthy • dance injuries and fitness Waterloo, Ontario nations. It is a resentment caused not merely • dance ethnology N2L3Gl by the wealthy nations' money, but by the • dance history and criticism (519) 885-1211 Ext. 3665 way their "aid" suffocates local identity. "As was the case with the Mongolian hordes", said Lozoya, "where American DANCE IN CANADA 13

pular cliche has it that the Nation'al Ballet of Canada's dancers are "self-effacing". Max Wyman says it's only that - a cliche. Peter Ottmann, . fay barduk and Raymond Smith in Frederick Ashton's Mon tones II.

a nd TV pass by, the grass never grows shortcomings" of the societies that have ex perience of the individua l human being is produced science and technology are clear, a natural wonder. And that experience is re international exchange, he sug- Can the 1980s, he asked, generate a new rooted, ultimately, not in broad nationality ~ ·. might only make matters worse, format for international relations, "based but in specific place, not in timeless ~ larly ifwe continue to couch it in the upon a transcultural reappraisal of global­ generality but in the detail of specific =:.:age of the West. Where is the voice of ity, diversity, equality, fairness,justice, moments. And it is through our exposure to -;.:ernational underdog to be heard in progress and happiness?" those specifics - to the acts of creativity -ew information technology that is so that those experiences generate - that we - y evolving? "A nation is a fabricated come best to understand the other individ­ n he collective imagery that mass thing". ual . . . and are best able to make Lozoya's · i designing fo r the collective future cultural reappraisal. T his exposure is some­ hy is the input of Anglo-Saxon, These are high hopes, but surely not thing that dance, the art of the visible, =n, Central European, French and impossible ones. However, these changes tangible, non-abstracted individua l, is well - thinking and feeling so predomi- will come, if they come, from a regard not equipped to provide. - ~ . .. . Why are they the ones who have for something that is transcendentally Canadian identity, national unity, inter­ -r word when it comes to values and global, not for some kind of cultural national (under)standing . .. we have '25:-..;<>ns in science, philosophy, art, litera- multi-nationa list equivalent of Pepsi-Coke, paddled ourselves into some murky waters, . ass media and fashion? Is everything but from something that speaks of the and it is ti me to make for a comforting -=o bjective ly evaluated?" individual (not the national) experience. haven before darkness descends. ;; i not, he implied, we may find Might dance possibly be that vehi cle, that In Canada, of course, the darkness often ,·e headed for the ultimate unplea­ format? is th e comfort. We take a keen pleasure in . What he called the "dramatic A nation is a fa bricated thi ng. The our obscurity, even as we grumble about its 14 DANCE IN CANADA effects. In the matter of the dance, that obscurity may well be a virtue. Instead of worrying about where we stand in the TORONTO world, and what kind of united national DANCE THEATRE image we present to other lands, we might Qoh more profitably take strength as a commun­ celebrating its ity from a recognition of the generous 15th anniversary season diversity of creativity the country has nurtured and continues to nurture. 93allet

"Our dance community pres­ ents no single front". Ylmdemy Our dance community presents no single front. In the aftermath of the 1970s and in the excitement of yet newer creative freedoms, we find ourselves with an .' ) SCHOOL YEAR unprecedented range of invitations to look. . 1983/84 Style is all a-jumble; the movement we are shown, in halls of culture or grubby Dec. 14-23 Court of Miracles storefronts, has never been so dizzyingly Premiere Dance Theatre, Toronto diverse. Jan. 19-Feb. 15 Eastern Canada tour And perhaps that diversity, rolled into a April 3-715th Anniversary Celebration whole at Dance in Canada conference-time Premiere Dance Theatre, Toronto or shown to us piecemeal four times a year April 27-May I Guelph Spring Festival in this magazine, might be enough of an June I Toronto International Festival identity to be going along with. Toronto Dance Theatre 80 Winchester St. Toronto, Ontario M4X I B2 . (416)967-1365

CHOO CHIAT GOH The Artistic Director George Congratulations Brown To Dance In Canada College Magazine on its 10th Anniversary School Lois Smith of Dance Artistic Director DANCE CURRICULUM • Professional Program • Senior & Junior CONGRATULATIONS • Ballet Classes for all Levels to Dance in Canada Magazine • Chinese Dance for 10 continuous years • Character & Jazz service to Canadian dance.

2214 Main Street Vancouver, B.C. The George Brown College VST 3C7 School of Dance P.O. Box 1015, Station B Phone: Toronto, Ontario MST 2T9 (604)872-4014 (416) 363-9945 (604) 872-4220 DANCE IN CANADA 15 ·me Mover Number One rant Strate and Dance in Canada

CHAELCRABB

In the eyes of hundreds of creative dance artists across Canada, he's a saint and a hero. To some others he's a needling trouble-maker. Either way, very few of those who know Grant Strate for any length of time find it easy to remain indifferent. Strate has inspired countless young artists to have faith in their own talents, to take creative risks, to stand up for their principles, to think independently - in short, to become mature artists. His extraordinary gifts as a persuasive animateur have made Strate a prime mover in many important developments in Cana­ dian dance. After almost two decades as one of the National Ballet's charter members, Strate moved to York University on the northern edge of Toronto. There he established Canada's first major dance degree program and for the six year's of his chairmanship turned York's dance department into an exciting power-house of creativity. His wide-ranging contacts throughout the dance world allowed Strate to draw on an impressive roster of guest teachers while the incandescent nature of his own leadership attracted a dedicated permanent faculty.

The last two words in his vocabulary ever likely to find themselves next to each other are "me" and "too".

Already widely known across Canada, Grant Strate became a more immanent force in the country's dance community during the !970's through his crucial involvement with the Dance in Canada Gran t Strate est l'une des personnalites !es plus injluentes de la danse au Canada. Au Association. It was his fantastic gift for cours de sa tongue carriere qui a debute en 1951 en devenant l'un des mem bres organization and administration which, _rondateurs du Ballet national du Canada, ii est reste fidele ases ideaux personnel et more than anyone else's, allowed the professionnel. Jusqu' en 1970, ii etait surtout connu com me choregraphe resident au struggling organization to gain a foothold. Ballet national. II s'est ensuite revele particulierement actif dans le domaine de York University became Dance in Canada's , education de la danse et afonde le departement de la danse de I' Universite York dont ii first home and in 1973 the ven ue of its first a he president pendant 6 ans. Depuis 1981, ii est directeur du Centre des Arts de annual conference. r Cn iversite Simon Fraser aBurnab y, pres de Vancouver. It was Grant Strate who persuaded Susan Avec safo rmation d' avocat, Grant Strate combine une sensitivite artistique avec de Cohen, then teaching a foundation course in grandes qua/it es d' organisateur et d' administrateur. JI a egalement exerce une profonde York's dance department, to take on the influence sur de jeunes danseurs contemporains au Canada. JI defend ses convictions et awesome responsibility of fo unding a n'hesite pas amaint enir son opposition ad es idees qu' ii juge fausses en principe. Le role magazine for DICA and when she relin­ d avocat du diable semble particulierem ent lui convenir, sans doute parce qu'une idee qui quished its editorship in 1977 it was Strate a de la valeur ne souffre aucunement d'etre soumise al a critique. who decided that I might just be able to take it over. Unsuccessful in his first direct 16 DANCE IN CANADA

1977 DICA conference in Winnipeg. Some have argued that Strate was fighting a personal vendetta against the Canada Council's dance head, Moniqur Michaud. Their common distaste for ea: other is hardly a secret. Yet, if you trace · line of argument throughout all of Gran: Strate's battles with the cultural mandar in Ottawa it becomes apparent that the: were fought to champion a cherished se: principles. Again, Strate's heritage, as the son of Albertan Mormon family, provides the He is naturally suspicious of self-proclau authority and, despite the years spent m_ and working in central Canada, is ever

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Ballet - and suffered a great deal of A youthful Grant Strate as the Sun King, Louis XIV, in David Adams' Ballet Behind Us, 1953. thoughtless criticism in the process - a has remained almost impossibly sympat thic to the most questionable expressions approach, Strate then reverted to stealthier Grant Strate loves a good argument. The New Dance. tactics and invited me to dinner at a last two words in his vocabulary every likely Today, Grant Strate is firmly establish_ favourite restaurant. Who could refuse after to find themselves next to each other are on the West Coast as the Director of Sim that? It's the only time I've known Grant to "me" and "too". He's an independent Fraser University's Centre for the Arts in take an unfair advantage of someone's thinker who revels in good, honest intellec­ Burnaby, BC. He accepted the post for a weaknesses. tual dispute. At times, it's almost seemed five-year term in 1980 after being rejected Although he himself would quickly refute he's played the devil's advocate just so he York as the favoured candidate for the the suggestion, there are few who could could exercise hi s formidable debating skills. of Dean of the Faculty of Fine Arts. At deny Grant Strate's right to be called the One of the prime targets of Grant Strate's time, though Strate tried to disguise the t father of the Dance in Canada Association scrutinizing mind has, of course, been the it was a bitter blow. Now, as he looks ou: and of its magazine. Canada Council. He's ruffled a pillow full from his quaint little SFU office to the Even as a dancer and then as a of feathers both in and outside DICA with snow-capped peaks of British Columbia·s choreographer in the National Ballet, Strate his forthright opposition to those Council coastal range, he accepts the event as a was known as a strong-minded, often policies which he's earnestly believed to be blessing. controversial figure. Perhaps it has some­ wrong. His years as chairman of the "It's one of the true strokes of good thing to do with his early professional association were often marked by confron­ fortune in my life that I didn't get that training as a lawyer in his home province of tation with the Canada Council's dance deanship. York is now in a maintenance Alberta. More likely it results from the section, culminating in an emotionally situation. That's not my style. Basically.:-·­ natural agility of his mind. Either way turbulent annual general meeting at the not a nostalgic person. I don't look back_------16 DANCE IN CANADA

1977 DICA conference in Winnipeg. Some have argued that Strate was fighting a personal vendetta against the Canada Council's dance head, Monique Michaud. Their common distaste for each other is hardly a secret. Yet, if you trace t line of argument throughout all of Grant Strate's battles with the cultural mandarin:, in Ottawa it becomes apparent that they were fought to champion a cherished set o · principles. Again, Strate's heritage, as the son of an Albertan Mormon family, provides the cl • He is naturally suspicious of self-proclaime,-­ authority and, despite the years spent livi n_ and working in central Canada, is ever mindful of the country's strong regionalisrr. Diversity, in Strate's view, is the essence of the Canadian experience and anything which tries to defy that fundamental fact is to be repudiated. It explains Strate's angry response to the Brinson Report on ballet training in Cana - which, despite disclaimers to the contrary, gave the clear impression of favouring the notion that one school, namely Betty Oliphant's soi-disant "National" Ballet School in Toronto, should become a "cent of excellence" for the whole country.

Diversity, in Strate's view, is the essence of the Canadian experience.

It also explains Strate's opposition to the seemingly capricious judgments of Canada Council juries whose decisions on which groups should receive funding offended his sense of what the arts are all about. His own philosophy has always been one of openness to new aesthetic approaches. He was an experimenter in his early choreographic endeavours at the National Ballet - and suffered a great deal of A youthful Grant Strate as the Sun King, Louis XIV , in David Adams' Ballet Behind Us, 1953. thoughtless criticism in the process - and has remained almost impossibly sympathe­ thic to the most questionable expressions of approach, Strate then reverted to stealthier Grant Strate loves a good argument. The New Dance. tactics and invited me to dinner at a last two words in his vocabulary every likely Today, Grant Strate is firmly established favourite restaurant. Who could refuse after to find themselves next to each other are on the West Coast as the Director of Simon that? It's the only time I've known Grant to "me" and "too". He's an independent Fraser University's Centre for the Arts in take an unfair advantage of someone's thinker who revels in good, honest intellec­ Burnaby, BC. He accepted the post for a weaknesses. tual dispute. At times, it's almost seemed five-year term in 1980 after being rejected at Although he himself would quickly refute he's played the devil's advocate just so he York as the favoured candidate for the post the suggestion, there are few who could could exercise his formidable debating skills. of Dean of the Faculty of Fine Arts. At the deny Grant Strate's right to be called the One of the prime targets of Grant Strate's time, though Strate tried to disguise the fac t. father of the Dance in Canada Association scrutinizing mind has, of course, been the it was a bitter blow. Now, as he looks out and of its magazine. Canada Council. He's ruffled a pillow full from his quaint little SFU office to the Even as a dancer and then as a of feathers both in and outside DICA with snow-capped peaks of British Columbia's choreographer in the National Ballet, Strate his forthright opposition to those Council coastal range, he accepts the event as a was known as a strong-minded, often policies which he's earnestly believed to be blessing. controversial figure. Perhaps it has some­ wrong. His years as chairman of the "It's one of the true strokes of good thing to do with his early professional association were often marked by confron­ fortune in my life that I didn't get that training as a lawyer in his home province of tation with the Canada Council's dance deanship. York is now in a maintenance Alberta. More likely it results from the section, culminating in an emotionally situation. That's not my style. Basically, I'm natural agility of his mi nd. Either way turbulent annual general meeting at the not a nostalgic person. I don't look back a DANCE IN CANADA 17

. There are certain contacts I miss _ = · For example, I miss being ., n with the Toronto dance scene. - . the scene here is so very active." -ding to Vancouver dance critic Max . it's become even more active since trate arrived at SFU. "The univer- . people like Iris Garland there, was very creative place for dance but -:.mt arrived it's really become a ::>e reckoned with".

do have a love for administra­ d truly believe it can be very

-e Centre for the Arts' director, - integrated its activities more fully

iscover Canada's ,cert. ;e - and brings the outside onto by convening international d conferences. familiar urgency to the way Exciting World e moves about his business. You of Dance for nly $10 a Year!!* 2 savings off the newstand price

- rate with Lilian Jarvis in Celia Franca's L 'Apres-midi d'un Faune: ational Ballet, 1952. DANCE IN CANADA 17

....- · · ;::ea!_ There are certain contacts I miss ,, :lere. For example, I miss being r =nt with the Toronto dance scene. · en, the scene here is so very active." =::ording to Vancouver dance critic Max -~a, it's become even more active since -1 Strate arrived at SFU. "The univer- h people like Iris Garland there, was ... - a very creative place for dance but e Grant arrived it's really become a ~ ·o be reckoned with".

eally do have a love for administra­ and truly believe it can be very

.:he Centre for the Arts' director, :e has integrated its activities more fully ··,e local arts community. SFU, a - -hild of the idealistic sixties, rests atop mountain, a spectacular complex of gs inspired by, of all things, the :ecrural motifs of ancient Central - _ can Indians. Yet, for alls its beauty, 71;ersity also appears from the outside A sprightly Grant Strate rehearses SFU students for a faculty concert. • .ore and austere - an intellectual town to the Firehall Theatre. Despite his touring office - and brings the outside onto - 11 Grant Strate first arrived critics busy schedule on campus, Strate deliber­ the campus by convening international welcome at student and faculty ately involves himself in projects off the seminars and conferences. =ances. Now the critics come freely campus - for example, he's just finished a There's a familiar urgency to the way • _ ormances sometimes move down- stint as chairman of the BC council's Grant Strate moves about his business. You

- trate with Lilian Jarvis in Celia Franca's L'Apres-midi d'un Faune: Natio nal Ball et, 1952. 18 DANCE IN CANADA

to have contributed. People pay me a respect I don't feel is due. I'm not withom ego but it's an ego for different things, fo r my work." The Centre for the Arts, over which Strate presides with a paternalism that he says is disarming to some of his colleagues. consists principally of a connected series o' prefabricated shacks on the edge of the main university complex. It's a far cry fro the high-tech splendours of York's Fine Arts Building but Strate's now rather aged and hairless dog, Fella, enjoys his easy access to an enticing campus, full of little courtyards, grassy banks and clumps of trees and shrubs.

"We're in a time of consolidation, not ol emerging ideas".

When Strate has time to talk he likes to take guests to SFU's new faculty club. It must have the most beautiful view of any such facility in a Canadian university. The balcony of the timbered building hovers over the steep sloping hillside and through the tall conifers you can catch glimpses of sparkling water and, beyond, of the mountains. Looking back on the early years of the Dance in Canada Association Grant Strate admits he may have gone a little beyond reason in defending the rights of artists to experiment freely. "The artist is so vulnera­ ble. My awareness of this makes me very sympathetic - even to those things I don't like. We're now in a time of consolidation, not of emerging ideas. Art generally is rqpidly moving back to romanticism and realism. Some of the seventies stuff really was very bad and needed to die". Grant Strate with dancer Maralyn Mi les and his artistic collaborators for the 1963 ballet,House of Atreus - composer Harry Somers (left) and designer Harold Town (right).

never see him stroll. There's a purposful creative administrator that Grant Strate is thrust to the way he walks that makes it now best known. close to a march. His patient secretary finds "He's so damn good at it", says his it hard to keep track of all his comings and longtime friend, Earl Kraul. "I admit", goings. His colleagues marvel at his energy. comments Strate, "I really do have a love "He's not a boy any more you know", says for administration and truly believe it can be one of them. very creative". Among his many projects at SFU has "People pay me a respect I don't feel is been the development of a five year plan due". that will transform the Centre for the Arts so that all its teaching divisions - dance, But Grant Strate is in his element at SFU. film , theatre, visual art, music and interdis­ To call him a brilliant administrator would ciplinary studies - have the status of major be offensive only to Strate himself since he degree-earning programs. He's also busy would probably rather be thought of as a developing a plan for a Masters degree in brilliant choreographer. He says that music. choreography, teaching and administration Grant Strate enjoys talking about his are the three passions of his life - in that work but is far less happy talking about order - but although he keeps active as a himself, especially about his contribution to Grant Strate, in a heavily retouched archival maker of dances and still gives his complex dance in this country. photograph, as Dr. Co ppelius: National Ballet, but stimulating ballet classes it's as a "Really I have no idea what I'm supposed 1959. ned Strate's concern about the :: of Canada Council policies on the • opment of dance. "There is a big ~·r we face now. A number of groups - ged to gain acceptance and the ·~ncy today is to view them as poor e darlings. But they only exist because lie funds and some of them are g into rehearsal companies. The new __ ·on seems to be to protect them • t audiences. You don't protect art -. its ground. That's cultural engineering. sources of money are drying up and ~ ·one's scurrying for holes. At this point uld be very dangerous for Dance in - da to give up its lobbying role. eaucracies have to behave the way they understand that. But they need to be • . ed and should know they're being ~· ed". w in his mid fifties, Grant Strate shows - ..awa rd signs of slowing down. In al with his students he can still nstrate steps full out. His appoint· :· calendar would daunt the most :::.e ed business executive. The lively ndence of his mind and piercing s of his words still hit their targets. Strate remains a prime mover.

Le Groupe de la Place Royale Congratulations Dance in Canada Magazine on your 10th anniversary.

The National Ballet of Canada DANCE IN CANADA 21

Review

style that they do so well I ity, while Judith Johnson (in magic in them, it would have wonder why they bother with Patricia McBride's original role dissipated by the end. Rey anything else. Les Grands don't in Rubies) shows immense prom­ Dizon, with his intense stage have the technique for the ise in the Balanchine repertoire. presence and superb ballon, classics or for superb show­ All the men I saw have a way to deserves better. dancing, but they could become go in mastering steps and style. Worst of all was Astaire, at the Canadian equivalent of As for the box-office hits least to a real Fred-and-Ginger ·those companies whose Netherlands Dance Theatre or (Fernand Nault's Tommy, John addict. Intended as an honest ~ is much greater than the Ballet Rambert if they wanted, Butler's Quest, Astaire by tribute, Astaire struck me as a _·its parts. It has no real and that would be terrific. Brydon Paige and John Stan­ piece of ill-judged arrogance. Its · ough Andrea Davidson The Balanchine works on zel), however effective they may underlying assumption seemed . ~y D izon come close, but display were Allegro Brillante, of be as crowd-pleasers, they're to be that since classical dancers 3 wonderful esprit de which Balanchine said it "con­ negligible as choreography. are the most highly trained of . an a bility to communicate tains everything I knew about Tommy, the company's signa­ their kind, they can do any sort - _asure its dancers feel in the classical ballet - in thirteen ture piece in the early seventies, of dancing creditably, and that · · ey do; and what they do, minutes", and Capriccio (better was as splashy as I remembered simply isn't true. Good show :.o with about 150 per cent known as Rubies), vintage but also dated and very long. An dancing, let alone the genius of :r actual talent and tech- Balanchine in a jazzy, American, historical curiosity - it put Les an Astaire, demands a sense of hip-thrusting, turned-in idiom. Grands on the map when the timing, ease, and loose-limbed Although the company hasn't National was splurging with insouciance all its own, and you the speed or the freedom in the Nureyev and The Sleeping don't get those qualities simply repertoire for the upper body to do these pieces Beauty - it may have created by applying tap shoes as needed, "'.l~O season was mixed in admirably, it does them well new audiences for dance, but by any more than Maureen Forres­ -ays than one, the works enough to show the choreo­ now the converts should be ter could become Janis Joplin =rmo three categories: graphy, which is well worth ready for higher things. by downing a quart of booze. If ~:hine ballets, which Les seeing. Moreover, Andrea Quest, yet another of Butler's John Stanzel, to whom the work - :.s perform with panache if Davidson has become a real body-beautiful numbers, should is also a tribute, sings as well as :h perfection; big box- Balanchine dancer - crisp, have been called "Pumping Astaire, that isn't saying much, - :iumbers, which I'd rather clean, gracious, witty, generous, Iron": it consists chiefly of a nor does it make a ballet or even ' t do at all; and serious deliciously musical, with tech­ sequence of body-building poses a good revue. - .s created for the company nique to burn. Jerilyn Dana had and spectacular tricks repeated Astaire might be fun at a ., ically-based modern glamour but not technical secur- so often that, were there any Christmas party for Friends of

rands Ballets Canadiens in Judith Marcuse's new ballet, Seascape. 22 DANCE IN CANADA

exchange roles from perfor­ Le Groupe de la place Royale mance to performance. The National Arts Centre "male" cast (I saw Hillyer, Ottawa Sylvain Lafortune, and 14-15 October, 1983. Kudelka) renders a more · abstract, ritualistic work: Every­ The piece is called Faustus: Ar. man going to his grave, attended Opera for Dancers. The creari - by friends and angels. The genii involved are Gertrude "female" cast turns the ballet Stein, on whose (mercifully into a family tragedy of dying truncated) three-act play Doc: mother (Annette Av Paul, mag­ Faustus Lights the Lights the nificently serene, vulnerable, libretto is based; John Plant, anguished, and exhausted by who has been seen and heard ~ turns), her distraught husband these parts before, composer frustrated by his inability to help the score; Peter Bcineham, an: (Jacques Drapeau), and their tic director of Le Groupe de la daughter (Catherine Lafortune), Place Royale, the choreo­ alternately furious at being grapher; and the dancers of deserted and compassionate, her company, who are to be con­ tension mirrored by a stuttering fused with the singers of that Sylvain Lafortune supports Edward Hillyer in James Kudelka's latest movement of straight arms with company. work for Les Grands Ballets, In Paradisum. flexed wrists. The basic problem with F(Jhl tus is how to come to grips wi - Les Grands, but it shouldn't comic, even grotesque, move­ The work progresses. inexora­ bly from the moment when the what it's supposed to be. Tak ~ have entered the repertoire. Give ment with lyrical swoops and on its own billing, it's an opera. me re-runs of the real thing any rushes, Seascape shows the com­ news of impending death is given (strident, clangourous but then John Plant's agreeab e time. pany at its best. score is less operatic than, say. Now for the good news: in In Paradisum shows Kudel­ music, frantic leaps) through the dying one's search for escape Tommy, The Who's early Judith Marcuse's Seascape and ka's strength in unexpected attempt to change the meanin~ James Kudelka's In Paradisum, areas: if not quite an abstract first from death, then from the ties of family and of life itself, to of the word "opera". Its depth the company has two highly ballet, it is universal in theme - is closer to that of the musical attractive works, the best I've the art of dying well - and far the moment of death (the music here is really a chorale prelude). stage with a more avant-garde seen from either choreographer, removed from the specificities of use of musical devices than, sa. and it performs them character, and coincident con­ It's a fair measure of the 42nd Street. It goes beyond magnificently. striction of movement, of much work's power that it succeeds Sondheim, but hardly reaches Seascape, set to tapes of ofKudelka's previous work: and with both casts, both interpreta­ Janacek. crashing waves and J.S. Bach's the movement owes far more to tions. Fittingly, Kudelka has hit But if we grant the rubric, Concerto in D minor for Violin Martha Graham, the expression­ his stride as a choreographer there is one expectation which and Oboe, is a sensitive evoca­ while creating a haunting mem­ ists, and even Laura Dean than anyhow, am loath to forfeit, an - tion orial of the life of the sea - to the danse d' ecole. for his mother. And seeing that is that ope.ra will be sung - water, plants, sea creatures, Av Paul in this work convinces Inspired by his mother's ter­ and sung properly. Here one h marine birds - with the grand minal illness, by the writings of me that her coming retirement to return tci the formal (and, as sweep and flow of Jiri Kylian's will be a serious loss to the Elizabeth Kubler-Ross, and by realise it, artfully-s.elected) sub­ company; she has a warmth, a work as well as the precision, graphic images of death (from title of the piece: An Opera for generosity, a mature presence, playfulness, and sudden sharp­ Kathe Kollwitz and others), Dancers. Dancers they are: Le that will be missed, perhaps in ness so characteristic of Mar­ Kudelka has created hypnoti­ Groupe is a company which has cuse. A fine piece for an this ballet most of all. cally repetitious movement to consistently demonstrated the ensemble, Seascape also focusses Michael J . Baker's equally hyp­ PENELOPE DOOB finest and most disciplined tech- on individuals: Betsy Carson in notic minimalist score, itself a fluent, twisting adage, rippling reminiscent of Steve Reich's and bending like a deeply-rooted work. Powerful sculptural piece of seaweed caught in the images crystallize amidst an undertow; Albert Forister and incessant flux of simple but Congratulations Catherine Lafortune in a subtle compelling movements: sudden romantic pas de deux of near­ leaps, whirls, off-balance sway­ and touches against a fascinatingly ings, stylized gestures of grief, Best Wishes for the Future diverse corps of three graces, an pleading, compassion. The angular couple and two lyrical unversality of the theme is to couples; an athletic, teasing pas echoed in the unisex costumes de deux for Sylvain Senez and by Denis Joffre: long, full ­ Dance In Canada Gioconda Barbuto; and a sea­ skirted tunics in white or grey gull pas de trois (Pierre that amplify the swirl of the Magazine Lapointe, Josee Ledoux, steps and the sculpted tranquil­ Edward Hillyer) full of abrupt lity of the pos.es. Toronto Dance wear Centre neck twists, sharp stalkings, and The casting, too, stresses uni­ intimidation tactics. . A blend of versality: men and women DANCE IN CANADA 23

11111;; _ whatever the eccentrici­ quickly from memory. Indeed, a stellar vehicle in the vocal Painters And The Dance - experiments of its the choreography is paler than chords of others. Listening to St. Lawrence Centre, -.tations. Singers they are the music. It's one-dimensional, the music and wondering if Toronto d I fail to see why we are which is probably the way another group of singers could 22-24 September, 1983. - g to a score sung by Boneham wanted it, while the indeed pull it off, and forget without the blessing of music is richer in texture and about dancing, I realised that Painters And The Dance, Patri­ g voices. They are remar­ dominates the performance. the score is extremely sensitive cia Beatty's evening of collabor­ ' ·ell-trained in voice - the Looking at Faustus is an odd to the rigours of dance, the ative works at the St. Lawrence : of the same dedicated and experience, the proof, in a way, needs of dancers. It is a dance Centre in Toronto, was more - · ned application which of the triumph of will over all score which happens to have a than a concert; it was an event. es their dancing so impres- adversity. For my money, the vocal text. Could, then, Le Never had so many of the city's - but all the training in the libretto is rubbish, the singing Groupe have the singing glitterati assembled for contem­ annot impose tone on a substandard, the choreography recorded and use it merely as porary dance, usually the poor lar set of pipes. Not one irrelevant and only the music that? Alas, no, for the choreo­ cousin of the arts. Thus, there _ Groupe's dancers is a satisfactory; and yet, the patina graphy itself would not sustain were signficances beyond Beat­ ::-ally good singer or at least of the performance was lustrous the score. The movement of the ty's unique concept of merging :. enough to project, musi­ with confidence and the exhila­ dancers depends utterly upon visual art and dance. For one rn a hall the size of the ration which can propel many a their being the instruments of thing, the lavish production work despite its defects. Partly the score. demonstrated what could be re. Quite a lot of this it's just this seasoned dance Unlike Collector, Faustus is achieved by monied support; est of texts could not be troupe, most of whose members not a dance piece, by its own secondly, a whole new audience, . w od as the dancers/sin­ have now worked together for admission. Sadly, it's not an namely the corporate elite, was ,ruggled with projection, the better part of a decade; opera either. All this is not to introduced to contemporary i.!J.i.ng or whatever. partly the high-gloss design by suggest that Peter Boneham and choreography. As well, the con­ , a little hard to be forgiving Arthur Penson, who fashioned Le Groupe stop the wandering cert demonstrated that the - e\·ening so hard on the quite striking costumes and an - there is a place for any recently-renovated Bluma Appel - nsibilities, but there arresting series of sets. But theatrical venture which works Theatre makes a superb venue _ -- have been compensations. there's a sense that everyone in (and room for efforts which may for dance. - all, this is a modern dance and of the production has set not, especially when you have The focus of the concert were :" y, and a good one. But out to conquer Everest, and the paid as many dues as Le the dances Beatty set on the ~"Icing in Faustus seemed news from base camp is of the Groupe). The company seems stage designs of Canadian out to be almost bloodied but unbowed. It's a happy to stay together and is abstract expressionists, Graham eous. Landings from little eerie. All this talent, energy, well into its new generation of Coughtry and Gordon Rayner. ly-repeated) butterfly commitment - all these excep­ choreographers - perhaps To say stage designs, however, is ~ would obscure yet tional dancers working for years because Boneham's interests are misleading. The two artists in -er word or note from the now to learn vocal technique; less and less satisfied by dance fact created huge paintings .··o and score. If Peter Peter Boneham, a restless magis­ alone he is nurturing the various which Beatty's dancers, mostly m's choreography was ter ludi seeking new avenues for talents from within. But, with all from her home company, ed to pick up the nuance his company and himself affection and respect for this Toronto Dance Theatre, · -rein text, I think it through additions of text, voice, creative group, a caveat. brought to life. Thus, the reeled - she repeats, he theatre, now video and film, to Nobody can do everything, as Coughtry/Rayner designs were -·ed. Tassy Teekman, as a dance - the art form which, this manque production shows. taken to the third dimension by ;,- capped around with effec- beyond all others, had to work The scariest thing of all is that it Beatty's choreography. The - :, canine paws and smile, long and hard to prove that it would not appear that anything evening was completed by two - · an attitude, upped into was a legitimate and effective the current membership of Le older works. Seastill and Skyl­ ~~and came back to earth - means of artistic communication Groupe would do can make it ing, which, according to Beatty, -,eautifully executed, of on its own. any better. They have reached at have elements of abstract paint­ . Michael Montanaro, as The sheer effrontery of Faus­ least one of the limits. ings about them in their designs _ is to, posed a lot, and from tus, the brash confidence on the HILARY McLAUGHLIN by Aiko Suzuki. e ·o time leapt about part of its perpetrators - is, in a li cally. way, its own success. The moves -: the central role of Faustus, in ever-different directions James - presumably cast which Boneham has been navi­ _ · e of his uneven but not gating for some time reached a Jy unimpressive bass voice fairly effective culmination in - d very little dancing to do the 1981 Collector of Cold The female lead, a Weather (Part One), another ter named Marguerite Ida musical collaboration with - Helena Annabel (really; this Plant. Faustus may just be an n rude Stein at her Steini­ overreach, and it may be chur­ -as played by Janet Oxley. lish to fault a company for ad more movement, but trying to stretch beyond the d so much singing, in immediate. e oddly-pitched passages of There are curiosities in Faus­ -- re, that her dancing faded tus, which could perhaps make it 24 DANCE IN CANADA

Sun•Ergos Edinburgh Festival September, 1983.

The Calgary-based company, Sun •Ergos, has come to Edin­ burgh at festival time for three successive years, and the latesl production by Dana Luebke and Robert Greenwood- at the Assembly Rooms, where now a selective festival is organ­ ized, alongside the official festi­ val yet distinct from the unselective rest of the "Fringe'" - is even better than its predecessors. A Memory of Two Moons haci its world premiere in Edinburgr, and inevitably there were a fe w rough edges which needed pol­ ishing. But only one serious fla emerged: the ending, which Miguel Moore and William Douglas in Patricia Beatty'sEmerging Ground; costumes and decors by Graham needs reworking. Otherwise the Coughtry. piece maintained a remarkable standard of poetic dancing and The idea of having dancers curtain closed. Although the The hit of the evening was the bring a painting to life first came choreography had aspects of collaborative work with Rayner, acting, using fine poetry. Both artists have suffered through the to Beatty when she was standing gymnastic exercise about it, Raptures and Ravings. Having in front of a huge canvas in the Beatty held a tight restraint on been lulled into the abstract illness and death of relatives an New York Museum of Modern the movement in keeping with calm of Nature by the first three have taken death as their main theme, treating it in many way . Art eight years ago. The thought the subtlety of her theme. dances the audience was sud­ with the passages of dancing a c struck her that the work had the denly plunged into Rayner's Seastill and Skyling, both poetry linked to each other in a effect of a proscenium. Thus, giant collage of an adult play­ created in 1980, continued the variety of subtle ways. rather than having a painter ground gone wild - ladders at program's concern with nature. make a setting for her ideas, odd angles, trampolines of var­ The combination of dancing Beatty envisioned a choreo­ As well they provided an inter­ ious sizes, ramps awkwardly and acting developed by esting contrast to the new works. graphy which brought to life the placed, hanging pieces of jagged Sun •Ergos is admirably origi­ Suzuki's set designs had, in ideas of the artist. Painters And sculpture - in short - a nal. I know of no other pro­ Beatty's words, " the impact of The Dance is the fulfillment of nightmare of an obstacle course. grams with anything like this water colours against the oils of that dream. As for the choreography, Beatty format, performed at Edinbur~ Coughtry and Rayner". Placed The first work, Emerging matched Rayner's quirky vision or elsewhere, and it gives the tw behind a scrim, Seastill created Ground, contrary to its title, with an unprecedented athleti­ artists a chance to use their the indistinct aquamarine calm attempted to capture the coming cism which took the form of complementary talents to fin e of the ocean floor. Beatty, who of light. Coughtry painted a one-upmanship between Ste­ advantage while "saying" some­ has always regarded this work as huge canvass in his signature phen Raptis and the other more thing which could not be said in an experiment in stillness and swatches of colours. It stretched timid dancers. Raptis, is an agile any other way. the absence of dramatic tension, from wing to wing and covered American whom Beatty met In fact, one piece which wa used minute fragments of both the back wall and stage several years ago when she was also given its world premiere a images to represent sealife. Seas­ floor. The dancers' tight-fitting impressed by the fact that he the Edinburgh Festival this till, by its very static quality, is a body suits repeated the canvas's jumped over the person who summer - a ballet, based on daring exercise in dance pastels and earth tones. Thus introduced them! He was made Oskar Kokoschka's pioneer impressionism. when the curtain opened, the the focal point of the work. expressionist play Murderer audience was greeted by a Skyling, on the other hand, is Beatty utilized every nook and Hope of Women, created by Gier gigantic painting in which the filled with clever images of crany of the set making Raptis Tetley for the Ballet Rambert - performers were initially indis­ soaring and hovering, almost swing, hang,jump or roll in an did bear some superficial tinguishable from the setting. restless motion, set against a amazing display of suppleness resemblance to Sun•Ergos' For this work, Beatty had her vivid blue cyclorama slashed and daring. The work concluded work. Tetley, rejecting his origi­ dancers begin on the floor, with two diagonal lines of white. with the three scenic artists, nal (and very sensible) idea of constantly rising to higher and The choreography was as it dressed in crazy clown costumes using music by Schonberg wh ic" higher levels as the stage became happened, more exuberant than and playing instruments, march­ was right in period, feeling and filled with more and more light. the muted light in which it was ing through the set to the wild style, had the dancers speaking At the end, bathed in the intense set. The effect was of twilight and appreciative applause of the lines of the Kokoschka play, golden glow, the dancers exe­ rather than morning and Skyl­ audience. translated into English. This \.\.Ii cuted movements of joyous ing lost some of the sharpness it a grave mistake. Dancers usual_ PAULA CITRON celebration, still in motion as the had first presented. have little fl air for, or experien DANCE IN CANADA 25

Luebke kept his knees deeply Terrill Maguire bent in second position, with his Toronto Dance Theatre heels pounding the floor in 6-9 October, 1983. remorseless rhythms - thus projecting both anger and a When male choreographers deal feeling of death. with rape, it's usually the act The links between the acting itself, vividly mimed, that pro­ of Greenwood and the dancing vides the focus: think of James of Luebke were particularly Kudelka's A Party, in which the clear when Greenwood acted main event is the rape of an excerpts from Gogol's Diary ofa innocent girl by a casual stud, or Madman, and Luebke followed his Rape ofLucrece, whose noble this with the dance, A Spanish Roman heroine must kill herself Grandee and his Retinue. Gogol's to atone for her unwilled defile­ madman imagines that he is the ment. MacMillan's The Invita­ king of Spain and Greenwood's tion gives us another pitiful performance is simultaneously victim: a young girl, rather funny and disturbing. Luebke's repressed ( witness her revulsion solo starts off in a solemn way, from the nude statuary), who ::ert Greenwood and Dana Leubke (masked) in a combination suited to the solemn Spanish unconsciously incites an older - _'.o graph from Rainforest and Stroke. music of Soler but then the man to rape her. She will never -· e speaking lines. Of all the concerned (though in very differ­ dance changes to a wild satire on be the same again, the ballet tells bert dancers only Lucy ent ways) with death. its previous solemnity. The con­ us, but her attacker seems to ge (in the title role of A Memory of Two Moons junction of these two solo pieces achieve a tentative reconciliation man) rose to the challenge of began mysteriously with Robert produced a strange and vivid with his sympathetic wife. expressionism which was Greenwood wrapped in a effect, characteristic of the work The pattern is clear, in these doping in Vienna in the early shroud, which looked back to a of Sun •Ergos at its best. ballets as in most literature, the victim of a rape is pathetic, of this century. Not only previous Sun •Ergos piece, Small FERNAUHALL -=- :be speech of the other White Poems. Dana Luebke permanently destroyed; the rape · ":lbert dancers lacking in the unwrapped Greenwood from Canadian-born Fernau Hall is itself is the choreographic high­ :.:: so characteristic of exp res­ the shroud, and he eventually dance critic ofThe Daily Tele­ light and the victim's fate is ~- · m but for much of the time appeared not as a corpse but as graph, London, England. This is determined once and for all by _. performed in silence creat­ a living man. Then came a the first time Mr. Hall's writing the rape and its immediate " e\·en greater difficulty in succession of solos. At the end, has appeared in a Canadian aftermath. She ceases to be of the two artists came together periodical. interest to choreographer or · 1ence. again. audience once she has been "ruined". ~ e two Sun• Ergos per- In one dance Luebke pro­ rs, in contrast, coped ski!­ jected his own interpretation of - ,vjth the problems involved the Danse Macabre familiar in director • mbining dancing and act- medieval times. He wore a MARGO PERRY =- The spoken lines (including strange mask, suggesting an old ballet master ::,eech which Robert Green­ man or an old woman, and kept Stud10 imagined his father saying his slow, curving movements RICHARD - mself after having a stroke close to the ground. A later 103 SUGARMAN c deprived him of the dance, entitled In Second Posi­ The Professional's er of speech) were admira­ tion, was very different in style, _cted by Greenwood in a but also might be called a danse Dance Studio ::ry of styles. He succeeded in macabre. In fact it showed for information call - _·ng together two contrast- influence from the dance images (416) 968-7050 - ~:eces of sublime poetry, a of the Death-figure in The Green _-h from Shakespeare's Table, that masterly work (meld­ 1 03 Bellevue :ird III and Dylan Thomas' ing modern dance and ballet) by Toronto, Ont. MST 2N8 _ cal poem Fern Hill, both Kurt Jooss. In his new dance,

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nation to return to dance class, volume and violence, her ha = "to show I hadn't been entirely whipping her head and hair damaged". She tells of her from side to side. rapist's parting shot: "Hey, This is a woman's view of babe, you wanted it as much as I rape. Obsession with the even: did". Later, her skirt tied protec­ mirrored by repetitive move­ tively between her legs, she ment phrases. Anger and ine, :­ keens on the floor, legs able, however unjustified, gl.ILt spraddled, torso lashing in lead to the savagery of self­ rhythmic circles, and tells us destructiveness. Yet clearest of briefly about the rape itself. all is the determination to Later, Small joins her, and the survive, to let obsessions go, to women beat their thighs, feet, reclaim one's own life, to refUSe and the floor in patterned to be a victim. violence. At one point, Small Maguire gives us no easy huddles on Maguire's back triumph, of course: losses can­ while Maguire whirls about the not be cut entirely. But what stage, showing, perhaps, that matters most, finally, is the Terrill Maguire (right) with Holly Small in Cutting Losses. Maguire can support her own heroine's determination to be detachment from the past, or, whole: that, perhaps, is the rea.. How refreshing, then, to see others ambiguous, the isolation alternatively, that a sense of integrity of heroine and piece Terrill Maguire's powerful new of each person nearly complete. innocence can oppress. alike. work of dance/theatre, Cutting Suddenly, shockingly, the music Maguire speaks of how "these Cutting Losses is not a perfe~. Losses. Maguire is interested not begins, and Maguire (in black) things resurface", but also of the work: given its subject and in the rape itself, which we never and Small (in beige) stamp and need to "reclaim my life" by complexity, it couldn't be, bur .: see, nor in the rapist, but in the clap their way off stage, the letting go of an obsession with is a courageous, stunning piece long, uncertain struggle of a violence of their movement the past. Success is cumulative, of dance-theatre, and a work strong, gutsy woman for mimicked by Lang's percussive but not permanent: this extraor­ that goes far to redress the renewed integrity and self­ and pizzicato attack on his dinary work ends with Maguire balance between art and the respect after what is, above all, a piano. Maguire returns, her cowering far upstage and then reality of rape. psychological violation, an convulsive, defiant, sometimes advancing on the audience as PENELOPE DOOB unthinkable act of lust by a self-destructive steps imaging an she exhales with increasing dance teacher/date. anger yet incomprehensible; her Choreographed, scripted, and off-balance surgings across the performed by Maguire, Cutting stage, her body led not by her Losses opens slowly with a tense will but by the wayward impulse gavotte as Maguire, saxophonist of a hand or foot, suggest her Harry Mann, pianist-composer imperfect control of mood and John Lang, and dancer Holly direction. Small advance, retreat, and Occasionally Small, quizzical, Winnipeg's advance again across the stage in detached, vaguely sympathetic, various groupings. Minimal steps on to watch or imitate; she Contemporary adjustments in Maguire's pos­ seems to represent any woman ture project fluctuating moods who has not been raped, per­ Dancers of curiosity, aggressiveness, fear, haps, or Maguire's innocent defiance, supplication, sensual­ past. Now and again, there are ity, confidence. For reasons yet monologues for Maguire: in unknown, her progress is halt­ one, she speaks, quite calmly, of Congratulate ing, her relationship to the "the incident" and her determi-

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porary Dancers porary Dancers 19 years ago Ways, in which Evan's loose narration, for example, it would ouse Theatre and who has been largely limbs undulated through charac­ be difficult to realize that a responsible for keeping it alive, terizations of a Blue Man, a group of skipping children has has been "persuaded" by her Bounce Boy and a Bop Man. It suddenly turned into an old board of directors to step aside was all very affable and very women's bridge game. The three Winnipeg's Contempor­ in favour of a new artistic American. supporting dancers play all ::Jancers stepped on stage director. But this isn't the end of There's no question that those roles as well as expressing _ show called "In the Spirit Rachel Browne's influence on Evans is a gifted solo performer; Rachel's inner turmoil and sex­ ora", more than the the company. his stylish dancing alone should ual frustration. But, by the end was new. There was a Browne retains the title of provide inspiration for the of the piece, there's just one ~.rtistic director and a new "founding artistic director". She members of his new company. Rachel left - a woman who has hired the new crop of dancers, He has left an established career discovered her own strength and selected this season's program, in the United States, both as independence. and had a hand in picking her dancer and director of his own While Jest of God is not a replacement. She intends to Seattle-based company, to come completely realized work, or at r the summer, the troupe continue teaching, dancing and to Winnipeg. And there was least not yet, it is powerful and - veral of its most expe- creating new works and, in fact, more than a little difficulty in intriguing. And it provided some - d dancers, among them now finds more time to concen­ persuading Immigration needed intellectual and emo­ ..:II1 Kuby and Tedd Robin­ trate on choreography. As a Department officials to let him tional weight to a program that The dancers left, as dancers result she had a new work, Jest make that move. So why did he included two engaging, even of God to offer at the season bother? witty, ensemble pieces that con­ or to concentrate on opener. Evans says he's attracted by cern themselves simply with -=ography. And some, like But despite all that, the new the stability of arts institutions movement. And Jest of God also ·ate artistic director Ste­ artistic director also made his in Winnipeg, by the level of indicates that Browne will con­ e Ballard, were probably presence felt . Bill Evans ambled support for the Royal Winnipeg tinue to experiment. _- of the backstage manoeuv­ to the front of the stage, flashed Ballet and by the fact that the Yet, for all the impact of -=ih at's gone on over the an engaging smile and charmed Contemporary Dancers have Rachel Browne, Bill Evans and - onths. his audience while chatting been around for 19 years. He's their new dancers, and fo r all the ere have been changes at about the solo dances he was also excited by the opportunity enthusiasm they generated in p. Rachel Browne, who going to perform. They were to train dancers for a repertory their audience, the evening really ed Winnipeg's Contem- Daniel Nagren's Jazz: Three company, to teach them a strong belonged to guest artist, Anna­ technique that can adapt to a belle Gamson. Gamson is a New variety of styles because his York dancer who performs the tastes, like Browne's, are eclec­ works of the modern dance tic. The unanswered question pioneer, Isadora Duncan, and, right now is how those two even more importantly, LINDA RABIN tastes and temperaments will recreates the intensity of her DANSE come together to provide artistic spirit. Duncan liberated dance direction for the company. from toe shoes and tulle; she MODERNE In contrast to Evan's outgo­ believed in intuitive, natural ing ease and loose jazz style, movements and Gamson lets us Rachel Browne's Jest of God was discover what a breath of fresh Classes offered in con­ tight and angular and inward air those dances were and, in tempory dance technique, fact, still are. We see how simple floor barre, body release, looking. Based on Margaret ballet and singing. Laurence's fine novel, the dance and untechnical they were and explores the inner workings of yet how intense. Watching Garn­ the heroine's mind by putting son sweep back and forth across mornings: professional, five Rachels on stage. Rachel the stage, long white hair flow­ advanced, and advanced/ ing, draperies fluttering, I sud­ intermediate Cameron, intensely interpreted by Karen Unsworth, is sur­ denly understood how I've afternoons and evenings: rounded by her three other always wanted to move to the intermediate, elementary, selves. And then there's Rachel Blue D anube Waltz. beginners (an introduction Browne who created Jest of God And I realized, too, that the to modern dance) and teenage classes (14 years and provided the taped performance by Winnipeg's and up) . narration. Contemporary Dancers, with its Unfortunately the quality of emphasis on personal style and sound reproduction was so poor the sheer joy of movement, truly 372 St-Catherine St. West, Room 324, that many of the words were lost was "In the Spirit of Isadora". Montreal, Quebec, H3B 1A2 and, with them, much of the JACQUI GOOD

movements of the victims, this piece so much as the draped in tattered clothing, athleticism and exuberance tha: arouse feelings of despair and bursts from the stage. sympathy. They run in a frenzy This was immediately fol­ of terror, raked into a huddle by lowed by Triptych, a dance a demonic, flag-bearing soldier. brimming with hopelessness a ~ This death/warrior symbol is despair, featuring three ambigu­ sometimes embraced, sometimes ous characters writhing in tor­ repulsed, but it always remains a ment, stretching upward, threatening and very dangerous seeking the light. With extreme_ figure. slow movements, they try to Endangered Species is a prom­ discard their clothes, to relieve inent example of Grossman's their suffering. Exhausted from skillful use of dance as a this struggle against an unseen medium for political statements. force, they draw near each other In this particular show, the work frightened and wary. It is a was paired with Higher, true to sensitive, unnerving work if Grossman's formula of pro­ somewhat unclear in its theme. gramming opposites. Gross­ Coupled with Nobody's Busine - man's signature piece was it created a shocking polarity in provocatively performed by mood and intensity. Randy Glynn and Pamela The same effect, to a lesser Grundy, yet fine as they were, degree, was felt when Curious their performance could only Schools of Theatrical Dancing: invite reflection to the time when Part I followed National Spiri1. Higher was performed by the The acrobatic dancing of the master himself together with latter was sharply contrasted to Judith Hendin: a reminder per­ the distorted rolls and turns of Members of the Danny Grossman Dance Company in Endangered haps that this dance too ripened the bizzare pantomine Gross­ Species. long ago? man performs encaged in a Nobody's Business, another circus ring. Frivolity so swiftly Danny Grossman Grossman's company was Grossman classic, was also replaced by eccentric, tragic Dance Company alternately sharp, aggressive and included in this choreographic movement was disquieting but National Arts Centre achingly emotional throughout restrospective. By reversing roles as the performance continued Ottawa the program. However, this and presenting sexual parodies, the arrangement of the program 27 September, 1983. comic/serious motif became Grossman sets the basis for his became, unfortunately more staled. There are new areas observations and social criti­ predictable. Danny Grossman once said that where Grossman's acute politi­ cism, a lively, witty condemna­ His stark thematic contrasts work on the surface because of the inspiration for his choreo­ cal awareness could apply itself. tion of sexual stereotyping. their inherent theatricality and graphy is all around him: he The anti-patriotism of When it appeared two years ago, the high energy projected by the takes from life. That being the National Spirit, created at the Nobody's Business was even then company. However, the reper­ case, Grossman must be still time of the American bi­ pure frolic, with little political tory needs to be rounded out. living in "suspended imagina­ centennial, is now dated and punch. Now it has even less. Apparently, Danny Gross­ tion" somewhere between 1969 seems merely to be an amusing, Society may not be improving as man has self-consciously deve­ and 1977. The company's but relatively harmless poke at quickly as Grossman would like, loped a repertory, but none o appearance in Ottawa was com­ the red, white and blue. but this isn't the Dark Ages fit posed of his often-seen, political Endangered Species, takes its anymore either. is breaking new ground. Some­ and social commentaries. To his theme from the music, Krzysztof When Grossman and Glynn one who is as politically and credit, most of the works stand Penderecki's Trenody to the interlock in what has been socially in tune as Grossman up over time because the wit and victims ofHiroshima and Goya's labelled a "homosexual" duet, should be serving up more vitality of the choreography still visual testament, The Disasters it's really only a pas de deux relevant ch_oreographic works. stings and captivates an of War. The anti-war message with an angle. The heavy mes­ MANDY CHEPEKA audience. has never been clearer. The sage is not the engaging factor in

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Ballet of the

.ontreal 5"~18 September, 1983.

' urice Bejart's niche in the -- theon of dance is not entirely re. He is seen as too much of -bowman and he tends to

.;;aracteristics are not guaran- - to endear him to purists ~, conversely, they did assure of five sold-out performan- in Montreal, despite dates - t straddled Yorn Kippur. A de earlier, a similar conflict th Jewish High Holy Days - rl resulted in The New York ~ ry Ballet dancing to almost _ pty houses. ~ontreal has always been - ty in Bejart's hands. Audien­ adored him during Expo 67, -- · n in 1975, and accorded 1h current programs (which • uld hardly have been more Shonach Mirk and Patrice Touron of Maurice Bejart's Ballet of the Twentieth Century . imilar) bravoing, whistling, during the London Contempor­ thrown off balance by his abrupt lated like Loie Fuller, and which :;anding ovations. ary Dance Theatre's recent Can­ shifts in mood. He can wreak set off his chalk white face, The Ballet of the 20th Century adian tour know, it can be done. amusing mischief with context, Touron was the very personifi­ ead off with Eros Thanatos, Bejart's choreographic forte is as when he sets a group piece for cation of the Noh idiom which, Greek for Love and Death), a an infinite variety of pas de men to Meyerbeer's Les Pati­ like Britten in his church para­ - ~ tiche of star turns from 16 deux, singly and in canon, to neurs and follows it with a bles, Bejart seems to have jart works spanning the last catalogue the various faces of chorus of Verdian conspirators. acquired by osmosis. It was .:.iarter century. The emphasis Jove and despair. Movement is But he can also clobber you with meticulously observed, down to ::.s on Jove. Death, in the form confined to interaction between cleverness, unmindful of the the Koken, those black-clad · prostrate youths, bathed in a individuals; the corps seems diminishing effect of inapprop­ stage assistants whom conven­ ,,. Iden glow, provided only a largely superfluous. riate juxtaposition. tion considers to be invisible. :ik between numbers and, very This is an enormous waste The most crassly counterpro­ Throughout the first night an _ sionally, a point of view. because the 60-plus member ductive example of this was a undercurrent of expectation was though Bejart was playing company is superb. It is chock­ phalanx of static vestal virgins building toward the moment - mage to his father and to two ablock with rock solid boys who gesturing demure anguish to the when Jorge Donn, Bejart's great fhis dancers who were cut do not stagger as they land and a strains of Casta Diva, imme­ male star, with the idiosyncratic _ wn in their prime, there was bevy of leggy sylphs who would diately swamped by the explo­ torso and the face of Adonis, mething about the deliberate gladden the heart ofFlo sive elan of a quintessentially would make his first entrance. In rachment of their travels Ziegfeld. quavering Neapolitan Jove song the event, most - though it -ound the periphery of the Most of the company is (Surdate Innamurato), bril­ must be said: not I - missed it. -errymaking, and the vulnera- Bejart-trained but he also bor­ liantly danced by Gil Roman There had been a hobo wander­ - -,ity of their barely clad young rows with a discerning eye. with fittingly flashing feet , eyes ing across the stage from time to - ::,dies, that caused Wilfred Ronald Perry is a recent acquisi­ and teeth. time. Not part of the action, one wen and Michaelangelo's tion; Bejart's gain is certainly the Despite such juvenile excesses, could chalk him up to an vid to come to mind. The Harlem Dance Theatre's loss. Bejart's innate theatricality fre­ Absurdist whim - shades of ages were poignant but death Mark McClain, a miniature quently triumphs. I am thinking Ionesco - until, suddenly -e\"er entered the fabric of the Charles Atlas on loan from of Pavlova's delicate Dragonfly stripped, he was revealed to be ork. Stuttgart, could give Wayne solo, done in drag but not for Donn. The Adagietto from Even a spotlight pointedly Sleep a run for his money in laughs. It was the epitome of Mahler's Fifth Symphony eeping over rows of dead bounce, ballon, Puckish ambi­ travesti; only Patrice Touron's underscored a Faustian contem­ 'ontagues and Capulets was valence and text-book crisp muscular legs gave him away. plation of life. It had extraordi­ y a theatrical device to execution. Touron, a demi-caractere of nary moments: Donn never fail :iderline the pointlessness of Everything is grist for Bejart's great finesse, scored again with a to command attention and hi ling, rather than a means of mill: from Bach to gamelan, stately dance to traditional J apa­ arms snaked like Pli etskaya's, • ming to grips with death itself. taafelmusik to Grand Opera . nese drums and flute. Clad in a but the number was thin and, at · ; not easy but as those who One has to admire his many magnificent bird of paradise 12 minutes, too Jo ng. ' Death and The Maiden sidedness even while being hued kimono which he manipu- Now 36, Donn is still ri veting, 30 DANCE IN CANADA although no longer riveting emotional derelicts; devastation improbable name ofShonach fall apart; the centre cannot hold enough to deflect attention from in¼ time. Mirk, who has the fragility of a ... " The theme was echoed in the work he is performing. This If there was a specific subtext, Dresden doll minus the fussy the decors: a fissure in the wall was particularly the case in the with characters called The sweetness of these porcelain and a boarded up door gave you too popular (thanks to the Countess, Night & Tears, Angel­ shepherdesses. It is really not the whole ballet in a nutshell Lelouch film, Les Unset /es Lili, Hans Sorglos, etc., it was fair to single out any three; all of before a step was danced. Autres, which was, not coincid­ lost on me. At its premiere in them danced superlatively. How, after all this, Bejart entally, playing at a Montreal Brussels' Cirque Royale in There were many striking arrives at his inexplicably Polly­ cinema the same weekend, to March, 1981, some people found moments: Haydee being passed annaish conclusion that there is packed houses) Bolero. Despite it to be an updated Messe pour le hand to hand, Donn silently a new world a-dawning, is its frenzied finale, it lacked the Temps Present; others an adap­ mouthing obscenities like a typical of Bejart's irreconcilable smouldering sexuality, the tion of Sartre's Huis Clos. Bejart reincarnation of Munch's The duality. He is magnificent at proud reticence and the cumula­ contrasts a dark present (bril­ Scream, three droll angels in ritual and pageantry - who can tive tension without which this liantly evoked by the post-war Lederhosen being picked off by forget his le Moliere Imaginaire? repetitious Ravel score begins to rubble of the set) with a an unseen sniper - but they - but when it comes to matters grate on the nerves. seemingly glorious past ( 19th were not enough to keep a long of taste, a combination of Wien, Wien, Nur du Allein, century fashionplates, irrele­ and frequently confusing work caprice and self-indulgence which followed the Bejart pri­ vantly, on parade) and comes up afloat. render him untrustworthy as an mer the next evening, was a with an all too familiar scenario. It was impossible to differen­ artist. different kettle of fish. You can see it on sandwich tiate between the dancers suffi­ Fortunately, I represent a The title, taken from a popu­ boards in Times Square any ciently to follow the convoluted minority opinion and the Mont­ lar Viennese song, conjures up night of the week: "Repent ye! mini-dramas being acted out real Symphony Orchestra, images of Grinzing, Demel's The end of the world is nigh". and their angst was too cool, which decided to celebrate its and the once blue Danube, all Wien is a chamber work for sexless, almost ascetic, to engage 50th anniversary by temporarily the more so since all advertising 14 flawless soloists, most nota­ one's compassion. going into the dance impresario had stressed music by Johann bly Marcia Haydee, the Stut­ Bejart's choice of music was business, made a handsome Strauss, father and son; Schu­ tgart Ballet's exquisitely an unexpectedly powerful com­ profit; the Bejart company pro­ bert and Mozart. The irony lay expressive ballerina who has ponent. Playing off the sweet fited from their Montreal visit to in one's expectations, for it was recently embarked on a creative melancholy of Schubert against limber up for their New York Berg, Schoenberg and Webern liaison with Bejart; the elegant, the ominous strings of Berg was season, and everyone - well, who gave the work its real tone: ephemeral Kyra Kharkevitch; a the musical equivalent of Yeats' almost everyone - is happy. a post-war, post-hope Vienna of lyrical American with the much abused lines: " ... things KATI VITA

CENTRE FOR THE ARTS SIMON FRASER UNIVERSITY CONGRATULATIONS! • •• Dance in Canada Magazine has made an outstanding and valued contribution • • • to the dance community during its first . • ten years . • . . • • At the same time as we celebrate our Major degree program in own twentieth anniversary, the Ontario DANCE Arts Council offers best wishes to Dance in Canada Magazine for its tenth Emphasis is on anniversary issue. We look forward to Contemporary dance, the next ten years. performance and composition On with the dance! For further information on admission contact: Student Services Centre for the Arts Simon Fraser University Ontario Arts Council Burnaby, B.C. V5A 1S6 20th anniversary (604) 291-3363 1963-1983 DANCE IN CANADA 31

- n the Sadler's Wells Royal et. then called Sadler's Wells tre Ballet, first toured Can­ and the U.S., in 1951, it elled leisurely on the ship, -ress ofFrance, and then -:ically by its own train (72 in six months). It was · ·n as "the kids" and "the pany with bounce". : ch patronizing epithets d not properly be applied to ~ present company, which ◄ enook a nine-city, six-week - of central and western - da in October and

- es, and there is occasional ·•1 between the peripatetic - er's Wells and its more _- at-home sister company, Royal Ballet. The pressure of Desmond Kelly portrays the wicked magician von Rothbarts' dying moments in the Peter Wright/Galina . any rising stars pushing for Samsova production of Swan Lake for the Sadler's Wells Royal Ballet. - ace in the spotlight helps -· in a revival of Raymonda ·• III, which has a string of obvious comment: why didn't bande) fits rather uneasily in this say, Ivanov as filtered through and small ensemble dances. Siegfried think of removing the pas de quatre. the nervous systems of Nicholas -.ay also have influenced the helmet before Odette was More changes in Act I: neither Sergeyev, who first taught it to Swan Lake. drowned? But there, princes the tutor nor the jester (the latter the British, Ninette de Valois, must be allowed esprit cl escalier. a Gorsky addition) appears. . ou might think you've wan­ Peter Wright and Galina Sam­ Is this, then, a sort of And Wright, the SWRB's artis­ - into the wrong theatre sova. There is no "urtext" for comic-book reduction of Swan tic director, has followed others • the curtain goes up on the Swan Lake, despite there being a Lake? Not really. The new in reasoning that a Polacca for : production of Swan Lake, whole generation of Canadians production is dramatically men of the court is more logical Peter Wright and Galina who probably think that Erik absorbing. Enough of the origi­ than having peasants appear at a va. As the prelude soars Bruhn's version for the National nal Ivanov and Petipa choreo­ private party. •· cli max, we are shown a Ballet is the veritable " ur". graphy has been retained to In Act II, except for von Act III, the ballroom scene, is _, lit funeral procession, mollify the traditionalist, and Rothbart's part-time ballet­ awash with changes. Samsova - draped bier (Siegfried's many of the changes are both mastering, and new choreo­ has tinkered with the czardas er' ) and elaborately cos- logical and choreographically graphy (ex Gorsky) for the two and mazurka, and very effective mourners. So, the pro- rewarding. " big swans", the choreography they are. Wright has created an • are telegraphing that this As in most modern-day pro­ is mostly pure Ivanov. That is to unremarkable pas de six at the _gedy, and that we are in for ductions, Benno is banned from :::- changes! the role of gooseberry in the great Act II love duet. One of the curiosities of history is how CO-ARTISTIC DIRECTOR WANTED Dansepartout is looking for a co-artistic director. In lhing out of Star Wars or Benno held on to this part for - -;ore British - Lord of the addition to having choreographed in modern dance, decades after the emergency was candidates must have experience as profession al dancers .s. Sorcery is his profession, over. (Gerdt, the first Siegfried, and knowledge of Limon technique. e " moonlights" in ballet- was too old to partner.) To Candidates must also be fluent in French and English . ·• ring: he hovers around the compensate, Benno has an excit­ The person selected must be prepared to commence the . eve n standing inside a ing role in the pas de quatre in position between April 1st and July 2nd, 1984 . at one point. Mercifully, Act I. This pas uses the music of Send curriculum vitae and a video of your works to: - - ppears to his seaweed den the familiar pas de trois, and the Le Groupe Danse-Partout inc. ng the grand adage. choreography is influenced by C.P. 3158, succ, St-Roch Quebec,OC - the struggle between Siegf- the Gorsky production of 1911 G1K6Y2 . nd von Rothbart in Act IV, which producer Samsova c/o Claude Larouche learned in Kiev. Siegfried's Salary: negotiable introspective solo (to a Sara- 32 DANCE IN CANADA

accompanying each princess is extended to Odile and von Rothbart, who are accompanied by a quartet of Spaniards clad in - you guessed it - black. But the Spanish influence has not sullied the circusy brilliance of Petipa's Black Swan pas de deux. Incidentally, the first Odile I saw on this tour, Samsova, chose not to do the celebrated 32 fouettes: others, Marion Tait and Margaret Barbieri, included them. One of-the subtler aspects of this third act is that the temp­ tress Odile makes a real effort to copy the sinuous softness of Odette, the better to fool Siegf­ ried. Of the three ballerinas I saw, Marion Tait was the most Marion Tate (The Girl) partnered by Desmond Kelly (The Husband) of the Sadler's Wells Royal Ballet in Sir successful at this bit of imitation, Kenneth MacMillan's The Invitation. perhaps because she had more beginning. But his greatest but let it go). After her group Some putting and taking of to draw from - her Odette was change is the extensive revision does its national dance, each music was necessary, of course. beautifully ardent and vulnera­ in the roles of the princesses. princess gives a solo. This allows This coda uses part of the same ble, much more so than Samso­ Each of the three foreign the audience a chance to see the Act III music that Balanchine va's or Barbieri's. princesses (would-be brides) is company's rising ballerinas, employed for his Tchaikowsky Act III ends with such a flurry accompanied by a delegation of such as Chenca Williams, one of Pas de Deux. And this was the of new stage business that you fellow countrymen in national the best of the production's original Black Swan music - may not absorb it all at one dress. (The Neapolitans are Polish princesses. The princesses but that's another story. viewing. For instance, a couple gaudy to the point of nausea, then join in a coda. The idea of a delegation of soldiers ( or are they courti-

Jean A. Chalmers Award in Choreo8raphy If you are a professional Canadian choreographer, you may be eligible to compete for the Jean A. Chalmers Award in Choreography. This $5,000 MA IN DANCE STUDIES prize is awarded annually to assist a One year full-time-two years part-time.

promising or deserving choreographer. Course Options: Choreography; Dance History; Aesthetics & Dance DEADLINE for application is APRIL 1, Criticism; Documentation & Reconstruction; Sociol­ 1984. For detailed information about ogy of Dance; Advanced Laban Studies. the award and an application form, SPECIAL ONE YEAR COURSES IN DANCE contact: For mature students from beginner to advanced level. Course designed to suit individual needs. Dance Office Subjects include: Ontario Arts Council Technique; Choreography; Movement Studies; Nota­ 151 Bloor Street West tion; Dance in Education; Dance in Special Education; Toronto, Ontario M5S 1T6 Teaching Dance; History and Sociology of Dance; Community Dance and Movement. (416) 961-1660 For details of these and other short courses write to: The Administrator, Laban Centre for Movement and Dance at University Of London Goldsmiths' College, Choreo8raphers-i\ 8tep Ahead New Cross, London SE14 6NW, U.K. DANCE IN CANADA 33

• ?) are struck dead by von Nureyev's gloss on that durable othbart's sorcery, and the Petipa showpiece, Raymonda, · ghtened survivors, huddled on Act III. e floor at curtain-down, raise a Bintley's Night Moves uses Benjamin Britten's Variations on NCE ; uple of small crucifixes. This ~ oduction, though unsubtle in a theme ofFrank Bridge, a fragile ·era! ways, has many such piece of music to entrust to arding details. pick-up orchestras on tour: I e In Act IV, Wright has created have heard it badly mauled. T 11~Jl _ n ew love duet for Siegfried and Fortunately, on this occasion Practical Magazine ette, thus risking comparison the National Arts Centre th Ivanov's in Act II. But on Orchestra did SWRB conductor of Dance - whole this act is a superb feat Barry Wordsworth proud. · revision. The corps, seen first This ballet has no sustained Featuring in Each Issue: Building Your Library. Spotlight - a ground fog of dry ice, is plot, but hints at fragmented on Successful Teachers • Practical Tips. 3 Calendar Sections • Auditions • Seminars & Workshops. Published autiful. Odette is handsomely relationships. Some of the refer­ bimonthly Plus two annuals: Costume Preview, Equipment :-iguished, and the pell-mell ences, such as four girls donning Update. _ :tion at the end is calculated to black veils, are obscure. But the . move from Act IV the old choreography is fluent, the fD =e:-;7,;- -□ -;;m::-En::e;- ) .gma of being an anti-climax, atmosphere casual, and there are O Two Years $29.00 D Please Bill Me I mething to be got through. some good "in" jokes. I liked Payable in US Currency As for male dancers, the the young dancer who did a solo I ~ rnpany is rich in good ones, if in the style of Afternoon of a Name king real stars. David Ash­ Faun (Nijinsky's, not Robbin's), I I -:ole was somewhat constrained making much play with a white , the first Siegfried I saw him towel (surrogate for a nymph's I Address I ce, but a couple of nights scarf?). When he had the er, when he submitted at short audience agog to see what the I ______I - rice he substituted for Des- ending would be, he just strolled nd Kelly, Ashmole was much off, nonchalantly massaging his I SMW Communications, Inc. I ·:-eer, and danced superbly. back with the towel. I 1333 Notre Dame Drive, Davis, CA, 95616 _) · ench dancer Alain Dubreuil's The Invitation, with its themes :: egfried was well conceived, of sexual repression and vio­ ~------·-ong in both emotion and lence, is not a likeable ballet, but ~ hnique. Roland Price's Benno it is well crafted. MacMillan "1 pressed as stronger in charac­ skillfully lays the groundwork . . but Iain Webb's was beguil­ for the searing drama. And in - _ and technically fluent. Marion Tait the company has an Ph ilip Prowse, who designed admirable successor to Lynn ~·h sets and costumes, has Seymour, who created the role -:-ovided a big basic set, using of The Girl. Galina Samsova ·. groups of pillars, variously and Desmond Kelly, as the older d . This works well for the couple, are effective; let's hope • tie scenes, less so for the they stay around a long time to eside which is uncommonly do character roles. k and claustrophobic. Raymonda? Well, it's glitzy - ince this company spends gilt set, gilt costumes, gilt score (Glazounov). Some of t of its time on the road, it is Nureyev's choreography, such to see that the provinces -~ treated to lavish costumes. as the pas de trois, is dull and one wonders about the some of the younger dancers don't know yet how to achieve 1· ti cal chances of three -bassadors, from three differ- the amplitude of phrasing . countries, turning up in Act I needed for such a showpiece . : wi ng robes all alike. Siegf­ Yet it's a fine vehicle for c's court must have enormous displaying the company's wealth of soloists. Particularly note­ t, to command such cloning. worthy: Sherilyn Kennedy's deli­ The ballets in the mixed bill cate solo to music of celeste; ught to Canada were nicely Sandra Madgwick's bird-like .ed - one, Night Moves by solo; and the diamond precision ~ _6-year-old company cho- of Karen Donovan. - apher, David Bintley; Ken­ MacMill an's The Invitation, LAURETTA THISTLE - · h has lasted surprisingly over 23 years, and Rudolf 34 DANCE IN CANADA

Royal Academy of Dancing {'(Itron lll'R \1.'\Jl:STY Tiff Ql'EE~ President D.'\\1E MAR(,OT FONTEYN DE AIRIAS DRE

The Royal Academy of Dancing's fundamental purpose is the maintenance and improvement of standards of dance teaching. The Academy now operates its graded system for classical ballet training and examinations in 43 countries.

Services for Teachers • A graded system of training in classical ballet for children and professional students • Annual examinations from coast to coast • Examinations to gain teaching qualifications • Workshops and refresher courses

Summer Workshop for Teachers 1984 TORONTO, JUNE 25-28 CALGARY, JULY 2-5 VANCOUVER JULY 7-10 Prepuring .1·111clrn1sfi,r Major f;xw11i11a1io11s

FOR INFORMATION (416) 489-2813 or write Royal Academy of Dancing, Suite 209 I 3050 Yonge Street / Toronto / Ontario M4N 2K4 DANCE IN CANADA 35 ook Beat

Francisco Ballet: the First as a "girl" at her place of .· Years, by Cobbett Stein­ employment, often enduring g. (San Francisco Ballet humiliating treatment at the · · iates, 1983. US $35) hands of ballet masters and choreographers. She performs ::ierica's oldest ballet company for wages lower than those of into existence like many the stagehands and hesitates to -opean ballet ensembles - as approach her union for help. An adjunct to an opera establish­ injury or forced retirement can n. Adolph Balm, late of the end her career on the spot. ghilev Ballets, mounted its The arch villain in this blast at ·1 season in 1933 with a the ballet profession is the late uction of Le Coq d' or, in a Geoge Balanchine, who spent 50 ine opera-ballet style, and years developing a pin-headed, ·naged over the next few years emaciated self-denying per­ evelop a repertory company former for the kind of choreo­ performances that were inde­ graphy he liked doing. Gordon ent of the opera, using draws a fascinating parallel of and guest dancers. his role as director of the School n 1937 the first of the three of American Ballet and the New ish-American Christensen York City Ballet with that of the hers arrived to begin a evil Baron von Rothbart in ily association with ballet in Swan Lake. His Cassandra, she Dancers of the San Francisco Ballet which is celebrated in a new book by notes, is The New Yorker dance :Vest which has continued to Cobbett Steinberg. day. Willam, Harold and critic, Arlene Croce, who eulog­ · Christensen forged the izes those ballerinas ready to · iny ofSFB with the vigor to the School of American Ballet and paeans by Lucia Chase, relinquish all links to humanity : had given their class vaude­ and the early companies led by Oliver Smith and Lincoln Kir­ in service to the master, chiding e act during years of touring Lincoln Kirstein and George stein. The 50 chapters offer those who gain a few pounds or _ venile performers. At the Balanchine is Lew Christensen, fascinating lore about the com­ go to work for someone else. e time they became itinerant who performed in many of the pany's influences and activities, Gordon finds a grim scene ents of classical ballet. early American ballets, devised its unique accomplishments and wherever she looks. Male - rever they found a Russian some of his own, and ultimately its triumphs and disasters. Cana­ dancers, relegated to the role of talian teacher they attended won the rights to perform in San dian readers especially will find porters at City Ballet, have as lasses. Smitten by the muse, Francisco over 20 works by in this success story some of the bad a time as the women do in ~ g Willam was determined Balanchine. Today ballets by answers to questions about com­ Houston, San Francisco, and . t.age full-length classics in Lew and Smuin feature promi­ pany identities and the reasons New York - places she visited -: Francisco. In 1939 - the nently in SFB programs which why ballet, a transplanted art in in her investigation. At Ameri­ · - after Gweneth Lloyd also include works by Frederick Canada, has taken so long to can Ballet Theatre director Mik­ -ched her Ballet Club in Ashton, John Butler, Jiri establish itself here. hail Baryshnikov feeds the ::.nipeg - Willam researched Kylian, Anatole Vilzak, and of a flames of youth-worship, caus­ · mounted a three-act Cop­ carefully nurtured team of Off Balance: The Real World of ing premature burn-out by over­ following it a year later young resident choreographers. Ballet, by Suzanne Gordon. working promising teenagers. . America's first full-length Cobbett Steinberg's book (Random House of Canada, Maturing soloists are neglected, n Lake. honouring SFB on its 50th 1983. $21) and some dancers who pass 35 FB is perhaps the only birthday has been put together get their walking papers on pany on the continent which with intelligence and affection. According to journalist Suzanne principle, even those with irre­ -=·nated in indigenous theatre, The text is vivacious, drawn Gordon, today's ballet girl in placeable mastery of a huge and • to this day it continues to from the researches of company America is underweight, under­ complex repertoire. e rate its unique heritage. archivist Russell Hartley, who sexed and underpaid. Dedicated The reader is li kely to con­ :hael Smuin, who currently must have saved every pin and to achieving a physique which clude that only madness or -directs the company with scrap of paper since he joined constitutes a mere cipher of a masochism could direct a child Christensen, is himself an SFB as a character dancer in human female, she courts all the into this distressing field_ Gor­ nus of the SFB School and 1943. (It was Hartley who disasters that plague her compet­ don stabs at some of the ffs pring of a theatrical designed and executed the 1944 itive profession, remaining in a problems : in the case of most -aging family in Montana Nutcracker costumes - all 144 perpetual state of semi­ female dancers, a mother lurks h had been at one time a of them - on a budget of pathology throughout her nearby, either feeding the child's to the Christensen Pere $1,000!) There are contributions career. Trapped in an unre­ drive from the wells of her own erprises in Utah. SFB's link by Smuin and Lew Christensen solved puberty, she is referred to fru stration or relishing the sacri- 36 DANCE IN CANADA fices made on behalf of a themes of the dance. Now out the multiple hands which daughter's obsession. But some Anne-Marie Gaston draws on often hold multiple objects, dancers seem to have avoided her years of dancing and such as snake and trident, becoming victims. On the dust studying in India (dating back attributes which characterize a jacket of the book Martine van to 1964 when she worked for particular form of Siva. Hamel endorses Gordon's work CUSO) to offer a new way of The complement of visual but lets us know that she was looking at stone figures of documentation is devoted to mighty lucky to have "escaped Siva. the dance, for which all but the extreme conditions to which Appropriately the book one of the poses and ballet dancers are born nowa­ emphasizes visual material; positions of the hands and days". Gordon does not give her photographs predominate feet are executed by the space to tell us how this over text. Although the author herself. Gaston's ease happened, nor does she contem­ quality of the illustrations is with costume, jewelry and plate the enormous changes in uneven - at times because of makeup reflect her strong the aesthetics of ballet over the the age and erosion of certain professionalism. Also the past half century which have sculptures or the play of light credit for the photography, clean lines of the poses increased the hazards and made and shadow - there are some trekking across India to themselves are pleasing. the conditions so extreme. In a fascinating examples. record celebrated and obscure However, although the project number of recent books by and Surprisingly clear are two representations of the god. demanded images to match about dancers who performed ornate nataraja, (lord of the To help readers keep track the sculpture, it might have when ballet was basically a dance), from the famous of the range of images, the strengthened the book and road-company venture, one is south Indian temple at author has categorized them allowed the author a more struck by the affection felt for a Halebid. These are carved into four successive objective position as a scholar career involving the sharing of into the temple's darkened periods and four major to include examples of native hardships and heritage and for ceiling, presenting a difficult geographical regions. Each Indians performing their own the maturing process made pos­ challenge for the plate is clearly identified and dance. There is something in sible through acceptance of a photographer. The range of described. For readers who the proportion of an Indian personal and artistic responsibil­ images presented is truly are unfamiliar with Indian dancer's limbs and torso that ity. Ballet today now appears to impressive and the task of sculpture and its elaborate informs the dance and that require more of the body and collecting them awesome. iconography, these notes varies from eastern to less of the person, the mind and One imagines Gaston and her should prove extremely southern regions of the the spirit. Suzanne Gordon husband, who take equal helpful in the way they point country. The differences could easily write another book between the gracefully on these issues and make her rounded Odissi style and the pronouncements seem thus less more angular Bharata inevitable. Natyam, which Gaston LELAND WINDREICH accounts for in historical terms, also have geographical roots. This variation which Siva in Dance, Myth and occurs to some degree in the Iconography, by Anne-Marie sculpture also could add a Gaston. (Oxford University further dimension to the study Press, 1982. $31.50) of the relationship between The God Siva performing his dance and sculpture. cosmic dance of creation and The clearly written text destruction is one of India's includes many fascinating most powerful images. For references to the role dance her book, Anne-Marie Gaston plays in Indian society. The has collected sculptures and author draws on such sources myths centering on this as census reports, inscriptions revered deity and has used and passages from early texts them to examine how and classical literature for her iconography and dance discussion of both religious gestures share much of the and secular functions of same symbolism. dance. However the Known better by her patchwork approach leads to performance name, Anjali, the some unexpected leaps - Ottawa-based writer has from the impressions of a demonstrated a deep European witnessing a festiva l commitment on stage to in Northern India in the 17th presenting several styles of century to the account of JEWISH COMMUNITY CENTRE Indian dance, imaginatively 4588 BATHURST STREET another westerner visiting the incorporating slides of WILLOWDALE, ONTARIO M2R 1W6 south two centuries later - as painting and sculpture to 636-1880 the author follows the dictates e · t e echnique and of similar sources rather than DANCE IN CANADA 37

.:..eveloping a sense of what The Intimate Act of Choreo­ matters at hand - so to speak. a method for choreographic · dian dance was in any one graphy, by Lynne Ann Blom Nevertheless, for the most discipline that might also be - .ace at a particular time. and L. Tarin Chaplin. (Univer­ part the improvs are well­ useful to the practising choreo­ Gaston's major sity of Pittsburgh Press, 1982. conceived. Some are classics, grapher when she occasionally tribution lies in her US $17.95 cloth, US $7.95 such as mirroring with a partner, finds herself in a creative desert. .oposal for a new system of paper.) moving to the rhythm of heart­ While The Intimate Act of ifying sculptures of Siva, beat or breath and developing Choreography undeniably has Here is a comprehensive work­ • m the point of view of a an instinctive sense of time that dreary "textbook" look and book for choreographers, dance cer. To find an duration (called here "The feel it is not totally devoid of the composition teachers and equivocal way of Whimsical Minute"). Some, human touch. One senses the serious dance students. The :egorizing the range of with titles such as "Macy's authors are young, their mis­ authors, both graduates of es, the author initially sets Balloon", "The Three Dolls" sionary zeal untainted. The final UCLA's masters program in de the hand gestures which, and "Growing A Monster" chapter, aptly titled Tangents, is dance, have extensive experience in the dance, are used in so seem to be too specific to be of a lovely jumble of disjointed in both theatrical and academic ny combinations. She also much interest to any but the thoughts any one of which could aspects of dance. They have ves for other purposes the most chronically obedient stu­ send your imagination on an managed to wrestle a nearly gree of bend in the body dent. Others such as "Safety inventive excursion. Here's one: unmanageable body of knowl­ ed by the deflection of Zone", "The Turn-Around "Dance is a continuous progres­ edge into a coherent and usable d and hips from the Place" and "Arrange/Rear­ sion of lost moments". And work. Subjects ranging widely rtical axis. Instead she looks range" are so clear and open­ another: "When in doubt, from Rudolfvon Laban's he feet to determine each ended the possibilities for e-f055--it-eut". The best: "Some Effort/Shape theory and the ic type of pose. Although discovery and invention are things are too simple for philosophies of Martha Graham system might seem logical limitless. beginners". and Doris Humphrey, to the use workable, it is perhaps In the hands of an expe­ of chance procedures and con­ HOLLY SMALL e that the author gives rienced, sensitive, perceptive ventional music composition cay her western bias when leader, the book could very well devices are all pressed into the e chooses five basic form the backbone of a univer­ service of the choreographer. itions of the feet, even sity or highschool dance compo­ There is something for everyone ugh they are markedly sition course. Blom and Chaplin here. have set out the content and erent from those of The authors point out that the method, what to teach and how ical ballet. art of choreography is far more to teach it. They have described Gaston's book, based on a elusive than the craft of choreo­ is prepared for the graphy. They have wisely con­ artment of Oriental centrated on the development J.d ies at Oxford University, and refinement of that craft with ~ The Banff Centre ivided into sections that an approach best described as '/ff..\' Schoolof Fine .Arts e intended to interest dance one of very serious play. Chap­ husiasts, scholars of Indian ters with headings such as Dance ..-: a nd those interested in Speaking Body, Space, Time, Programme Head: Brian Macdonald _ ho logy. Because of the Energy, Group Work, Abstrac­ Assistant Head: Brydon Paige olarly nature of the work, tion, are introduced with explan­ Artistic Advisor: Betty Farrally in the extensive use of atory notes and contain a series Performance Program: ian terminology and in the of exploratory assignments and June 25 - July 29, 1984 phasis on classification inumerable structured and not­ Auditions are held in February to select ch requires one to keep so-structured improvisations fol­ 14 young professional dancers from k of various types and lowed by choreographic study across Canada to join 14 dancers from one of Canada· s professional dance ypes of a pose, it is not assignments. These improvs and - easy read. But those who companies in a unique performance studies seem designed to be program. -- ently make their way offered exactly "as is" to one's ,ough the meticulous detail students. Yet I cringe at the Training Program: who spend time with the prospect of an inexperienced June 25 - August 3, 1984 chosen images will be group leader delivering, verba­ Designed for intermediate and senior­ level dancers, this program offers daily a rded with an enhanced tim, the book's first improv: classes in classical ballet, contemporary reciation of the "Take a look at your hand ... I plexities of Indian art and and jazz dance, pointes, variations , wonder what it can do. Can it repertoire and pas de deux. walk? fly? jamble? Come on For more information, SEMARY JEANES hand, try to ripple, spurt, stiffen, contact the Registrar: The Banff Centre quiver, clench, scratch, hang ... School of Fine Arts, It likes that. It's getting all P.O. Box 1020, excited! It's hopping all over the Ba nff. Alberta place. Hey, it's running away T0L 0C0 (403 762-6180 ... " Good grief! There is BEST WISHES TO DANCE IN CANADA nothing worse than an improv ON YOUR 10th A NIVERSARYI leader who never shuts up long We're celebrating our anniversary too this year: 1933 - 1983 enough to let you get on with the 38 DANCE IN CANADA

THE ARTS ENRICH OUR LIVES

For two decades the Ontario Arts Council has contributed to the blossoming of the arts in the province. Our job is to nurture that growth and to help keep the province's artistic community vigorous and flourishing. We are proud to play a supporting role in such an exciting production. May our birthday be an occasion for Ontarians to celebrate the richness the arts bring to our lives.

Ontario Arts Council 20th Anniversary 1963-1983 The Ontario Arts Council is an agency of the Ministry of Citizenship and Culture.

Ballet 6ddy

The contemporary touring ballet company with the title of "Quebec cultural Ambassador" (Le Devoir)

Contact in Canada: 551 est Mont-Royal Montreal, Quebec HlJ 1W6 (514) 524-3749 DANCE IN CANADA 39

_ oticeboard

Arnold Spohr has been artistic pany member Paddy Stone's lobby interviewed attendant delegates will be treated to an .; · ector of the Royal Winnipeg Variations on Strike Up the Band. celebrities, Spohr stood for more extravagant array of cultural Ballet for the past quarter Arnold Spohr was then than two hours while a seem­ activities. ntury. To celebrate the event, greeted on stage by his dancers ingly endless queue of well­ This extraordinary concur­ _ splendid gala performance was and a host of former RWB wishers waited their turns to rence of events will enable - eld in Winnipeg, at the Man­ board presidents as the audience greet him personally. Across the Dance in Canada to host a .rnba Centennial Concert Hall, gave him a standing ovation. It lobby, other guests read the conference featuring topnotch October 18. was the first time Spohr had many telegrams of greetings sent guest teachers, key-note speak­ Friends and admirers from appeared on stage with his from around the world. ers, workshop leaders and per­ cross Canada, including Gov­ company in its hometown since For Arnold Spohr, who formers from all areas of dance, e-rnor General Edward Schreyer their triumphant return from the couldn't have made it to bed the arts and education. Interna­ d his wife, and from the Paris International Dance Festi­ before 3 a.m., it was "business as tional critics, in town for the · nited States and Europe, val 15 years ago. usual" the next day - up early Toronto International Festival, gathered to pay tribute to Spohr Spohr already knew he was to arranging rehearsal schedules, will be invited to participate on a - and what a tribute! receive a metallic silver-grey fussing over transportation to critics' panel convened by The gala was planned to raise Jaguar XJ6 sedan and there the airport for homebound out­ Michael Crabb to discuss aes­ oney for an endowment fund were cheers when the elegant of-town guests and generally thetics and the history of criti­ - med in Spohr's honour, from automobile, proudly bearing the planning the next 25 years. "I'm cism. Noted Canadian hich annual scholarships will licence plate number "RWB I", all for continuity", said Spohr. composers of music for dance awarded to students of the was driven on stage. What he "This is my home. I have no including Michael J. Baker, oyal Winnipeg Ballet's Profes­ did not know about was the plans to leave". Milton Barnes, Ann Southam onal Division School. More black mink coat, which current and John Weinsweig will hold · an 400 people paid $125 to board president Lynn Axworthy The 1984 Dance in Canada panel discussions on the rela­ _ tend both the gala perfor- draped around his shoulders as Conference will be the largest tionship of music and dance. All nce and a special celebration Spohr received the keys to his and most eventful to date. The the winners of the Jean A. nner, generously donated by new car on a silver tray borne by conference, to be held at the Chalmers award in choreo­ ·estin Hotels. Both events a beefeater-costumed driver. University of Toronto and at graphy have been invited to a -eceived wide national coverage With typical self-effacement, Harbourfront (June 26-July I) public discussion about the a radio and television. the hero of the hour then made a coincides with the Toronto creative process in dance. The 2,000-odd seat theatre long speech, the gist of which International Festival of Music Among those confirmed to s packed for the performance. was that everyone but himself and Dance, Toronto's Sesqui­ attend are Paula Ross from -mdents from the RWB school was in fact responsible for the centennial, Ontario's Bicenten­ Vancouver, Maria Formolo - re naissance costumes and RWB's success during the past nial and the 20th Anniversary of from Edmonton, Christopher aring flaming torches stood 25 years. the Ontario Arts Council. 1984 House from Toronto and Paul­ tside to welcome audience The party didn't stop there. is also designated as the Year of Andre Fortier from Montreal. -embers. The lobby featured a As film crews in the theatre the Artist so Toronto conference Guest teachers and work­ ge screen on which a pro­ shops leaders include Daniel ted image of Spohr could be Sellier of Les Grands Ballets ;.een flanked by cascading dis- Canadiens' Maison de la Danse, -· ys of flowers. as well as Montreal dance One of the most unusual and teachers Linda Rabin and Dena ppy features of the gala Davida and Toronto teacher rformance itself was the par­ Donald Himes. German mod­ cipation of the Sadler's Wells ern dance artist Pina Bausch will oyal Ballet, then in the midst be performing with her com­ . its cross-Canada tour. The pany at the International Festi­ rnpany opened the program val and is also scheduled to give Raymonda, Act Ill and then a workshop for conference dele­ ned members of the RWB for gates. Pierre Mori n, a director of rformance of Hans van music and dance programming nen's Five Tangos, led by for Radio Canada, the CBC' - -elyn Hart and the SWRB's French language division. has .arl Meyers. been invited to lead a wor · hop There followed a variety of in Dance for Television. · de deux, contributed alter­ Conference organizers have ·ely by the R WB and SWRB, invited eight dance pioneers .·ore the senior "Royal" from acros the country to Royal Winnipeg Ballet co-founder Betty Farrally (l eft) and American upe - the Winnipegers - modern dance choreographer Bella Lewitzky co ngratula te Arnold Spohr discus their early work in nd up the show with an at a special gala held in Winnipeg on October 18, 1983, to mark his 25th choreography, teaching, set ·erpted revival of former com- anniversary as the RWB 's artisti c di recto r. design and the establishment of 40 DANCE IN CANADA performing companies. So far recipients of the Molson Prize. standing achievement in the Betty Farrally from Kelowna, The 55-year-old Montrealer fields of the Arts, the H umani­ B.C., Nesta Toumine from received his award, a cheque for ties or the Social Sciences to Ottawa and Frarn;:oise Sullivan $50,000, on stage at Place des make further contribution to the from Montreal have agreed to Arts following a gala perfor­ cultural or intellectual heritage participate in a session focussing mance of Gilbert and Sullivan's of Canada". on Canadian dance pre-1950 to The Mikado - the touring be hosted by CBC commentator Stratford Festival production Lois Smith, for many years the Lorraine Thompson. Plans are which Macdonald first directed National Ballet of Canada's also moving ahead on a project with such success in 1982. reigning prima ballerina and called Dance: Rhythms of an Era, The annual prizes are funded today a distinguished teacher, a performance of reconstructed from the income of a $900,000 was awarded the 1983 Dance works by four Canadian choreo­ endowment, given to the Can­ Ontario Award for her out­ graphers working in the 1940s ada Council by the Molson standing contribution to the art and 50s, well before the estab­ Family Foundation. The of dance. The award, which lishment of the major Canadian awards, administered by the included a framed citation as dance companies. Council, are intended, "to well as a personal gift, was The Special Events Commit­ Christopher Rees' bronze bust encourage Canadians of out- presented to Lois at a special of Karen Kain. tee of the conference has organ­ ized an exhibit of costumes from Karen Kain, the National Ballet the Diaghilev Ballets Russes and of Canada's internationally cele­ They've Said It All robes from Japanese Noh Thea­ brated ballerina, has been cast in With a little bit of delving and a lot of guessing you should be able tre at the Royal Ontario bronze! Christopher Rees of to match the sayings in the right hand column with the names of Museum. A collection of dance Windsor, Ontario, has created a their authors on the left. Write down how you think they match prints and posters will be on small but exquisite bust of up, "7a", "3f', etc. and send your list to The Editor, Dance in display in the Metro Library and Karen, 20 bronze copies of Canada Magazine, 38 Charles Street East, Toronto, Ontario, an exhibit of dance photo­ which went on sale in Toronto, M4Y !Tl, no later than 15 January, 1983. The first five correct graphy, organized by experi­ November 9, at the O'Keefe entries received will get either a free one-year subscription to mental photographer Yid Centre as part of the National Dance in Canada or, if they're already subscribers, an extension Ingelevics, will be on display in Ballet's regular art exhibition. of one year beyond the expiry of the current subscription. Make the lobby of Harbourfront's Twenty further limited edition sure you provide your name and address too. Premiere Dance Theatre. porcelain copies of the Karen This year performances will a. Mary I. Dance, dance, dance little lady! Kain sculpture went on sale later Leave tomorrow behind be held in four theatres - Hart Wigman - same price for either bronze You'd better dance. little lady! House, Harbourfront's Studio 2. or porcelain: $750. b. Noel Dance little man! Theatre, Brigantine Room and 35-year-old Rees, who came Coward Dance whenever you can. Premiere Dance Theatre - as to Canada in 1970 from his c. Thomas 3. Where once we danced, where once we well as open-venue performan­ native England, has established Hardy sang, Gentlemen, the floors are shrunken, ces on the U. ofT. campus. The cobwebs hang. an enviable reputation as a d. Ezra program at the Premiere Dance sculptor. He also teaches his art Pound 4. Without ecstasy there can be no dance. Theatre, entitled "A Celebration in Windsor. e. Bernard 5. Music begins to atrophy when it departs of Dance" will represent a broad too far from the dance. Rees produces both full­ Shaw cross section of Canada's more length figures and portrait busts, 6. I first started to dance to keep warm. f. Arthur well-known companies and will often working from photo­ 7. A good education is usually harmful to a Murray run four consecutive nights graphs which he himself has dancer. A good calf is better than a good head. (June 27-30). Groups and inde­ taken of his subject. g. Agnes pendents performing at Hart The sale of the Karen Kain de Mille 8. l just put my feet in the air and move them about. House, the Brigantine Room sculptures will help raise money h. Ted and the Studio Theatre will also Shawn 9. Dancing is a very crude attempt to get into for the National Ballet since part the rhythm of life. represent the diversity of Cana­ of the artist's profit is made over i. Fred dian dance. These shows will IO. The difference between wrestling and to the exhibition's sponsors as Astaire dancing is that some holds are barred in also run four evenings with the commission. j. Ira wrestling. same program playing for two Chris Ree's next project is to Gershwin JJ. British women dance as though they were consecutive nights. Environmen­ create a full statue of Karen k. Josephine riding donkeys. tal performances will be staged Kain in a dance pose. Baker 12. Dance is the only art of which we ourselves all over the city, particularly at are the stuff of which it is made. Nathan Phill ips Square and at I. Bob Brian Macdonald, resident cho­ Hope 13. I don't advise anyone to dance. You train the Eaton's Centre. Dance in reographer of Les Grands for twenty years and are famous for three. m. Romola Canada, in co-operation with Ballets Canadiens, opera direc­ 14. Dancing is the loftiest, the most moving, Nijinski Danceworks will host an after tor, head of the BanffSchool of the most beautiful of the arts, because it is no mere translation or abstraction from hours Performance Art Cabaret the Fine Arts dance program, n. Heinrich life; it is life itself. in the Tent at Harbourfront for Officer of the Order of Canada Heine those who have a spark of o. Havelock 15. Th e rumba is a dance where the front of - and a variety of other titles you goes along nice and smooth like a energy left after a full day of and responsibilities - was Ellis Cadillac and the back ofyou like a jeep. dance-related activities. named one of this year's two DANCE IN CANADA 41

ALBERTA Alberta Department of Educa­ tion and the Edmonton Public The Alberta Ballet Company and Separate School Boards. toured to Alaska this fall per­ Senior students in ballet or jazz forming a varied repertoire can now earn up to five credits which included the company per year towards their High premier of Plus One (A Moment School diploma while studying in Time) by Clinton Rothwell. dance. The Alberta Ballet The company has two new School is the first such school in dancers this season - Allan western Canada to receive for­ Barry formerly of the New mal accreditation by govern­ Zealand Ballet and Bernard ment and school boards. Emond from Montreal. A highlight of the 83/84 Maria Formolo and Keith Urban season is the Young People's - the company and directors of Ballet Series, three one-hour Edmonton's Formolo and programs designed to introduce Urban Dance - returned in children to the world of ballet. October from an exciting cultu­ The series, which began in ral exchange tour to Japan and _ ois Smith (left), winner of the 1983 Dance Ontario Award with Susan October, continues with 1984 China. Formolo and Urban Cohen, founding editor of Dance in Canada and now dance officer for the performances at the intimate were the cultural components, tario Arts Council. Cohen displays the special award presented to the together with Edmonton's ~ AC to mark its 20th anniversary. John L. Haar Theatre (Jan. 28, 29 and Mar. 31 , Apr. I). Tommy Banks (Jazz) Quintet, of a comprehensive exchange :-eremony in Toronto on new administrator, Ingrid Nice Work ... If you can get it is between the province of Alberta . ·ovember 13. Rennblad, comes to the organi­ the name of a concert of dances and the provinces of Hokkaido, Lois Smith, who now heads zation from six years in financial presented by Denise Clark and Japan, and Heilang Jiang, · · e dance program of George management with Alberta Cul­ Anne Flyn at the University of China. For part of their China 3~own College in Toronto, was ture. Lynn Thompson is PBT's Calgary Theatre (Nov. 30-Dec. tour, Formolo and Urban tra­ :-ecognized internationally as a new public relations and com­ 2). Guest artists included velled with Alberta premier allerina in the true sense of the munications manager. dancers Donna Krasnow and Peter Lougheed. o rd, a dancer of authority, In October PBT opened a Hannah Stillwell and choreo­ The most fascinating part of .rlly equal to the great full­ Professional School under the grapher Vicki Wilis. the whole tour was the time t!ngth classical roles, and direction of Pacific Ballet's artis­ spent performing in cities and - essed with a distinctive and tic director Renald Rabu and The Alberta Ballet School Per­ towns in Manchuria, away from :iersonal style of movement. newly-hired ballet mistress Katia forming Arts Program has the official restraints of Peking, Together with her then hus­ Zvelebilova. received accreditation from the (now known as Beijing). Away d, David Adams, Lois Smith came known across Canada Vancouver Dance Week, (Nov. ANTON DOLIN - part of a great ballet partner­ 6-13), was a city-wide event to It was with deep sadness that Dance in Canada learned, just as n.i p, long before the popular highlight dance in Vancouver . the magazine was going to press, that Sir Anton Dolin, one of • It of Kain and Augustyn. Her More than 30 Vancouver-based the great figures of 20th-century ballet, died in Paris, November .:iormous personal contribution choreographers and performers 25. He was 79. the advancement of ballet in presented work on five dance Anton Dolin was well known to members of the dance 3nada was, belatedly, recog- programs at the Firehall Thea­ community across Canada. Only this year he was in Vancouver -.aed by the government in tre, the Western Front and the to stage bis famous Pas de Quatre for Pacific Ballet Theatre. In tawa when Lois Smith was Paula Ross Studio. The week's April he joined his friend Ludmilla Chiriaeff to help ce lebrate ·arded the Order of Canada in festivities coincided with the the 25th anniversary of the company she founded and with - 9, First Canadian Dance Critic's which Dolin himself was long associated - Les Grands Ballets Seminar. The Vancouver dance Canadiens. BRITISH COLUMBIA community organized an array Toronto audiences will recall Anton Dolin's 1978 appearance of activities including live perfor­ with the Lindsay Kemp company as Herod in Kemp's Salome, ific Ballet Theatre welcomed mance, a dance film series, an event covered by Dance in Canada. ncouver-born Reid Ander- outdoor events and dance pho­ Dolin's wonderful career stretched from the days of :1. a principal dancer with the tography and poster exhibits. Diaghilev, in whose company he was a star, through his :ittgart Ballet, back to his The opening ceremonies were celebrated partnership with Alicia Markova, his years as 1ive city to set two short highlighted by the western pre­ director of the London Festival Ballet to his later career as rks on the company - John mier of the National Film teacher, coach, actor and choreographer. :-anko's Ebony Concerto and Board's productions Narcissus, Friends of Dolin cherished him for his irrepressible vivacity. own Autumn. (see Dance in Canada, Number He could be a difficult man at times and always demanded his PBT has three new dancers 31), by Norman McLaren and due measure of attention and respect. However, behind the season: Cynthia Westaway Flamenco by Cynthia Scott, a cantankerousness and sardonic wit was a man of deep _m Les Grands Ballets Cana­ film examing the inspirational compassion and sensitivity. s, Brigid Hoag from North Spanish dance teaching of The passing of Anton Doli n leaves a void in the ballet world rolina and Danny Furlong "St1sanna" at the National that no other can fi ll. M.C. · m New York. The company's Ballet School. 42 DANCE IN CANADA from the capital, Keith and Bodeut and will feature live land shortly after Christmas Maria found themselves music by Winnipeg performer where the 27-year-old dancer is accepted in a very open way. Fred Penner. scheduled to give two perfor­ Often they discovered that dan­ mances of Giselle, (3 and 5 ces which they consider to have January), with the Sadler's MANITOBA deep, mystical overtones and Wells Royal Ballet. Her partner which some North American there will be David Ashmole. Evelyn Hart, the Royal Win­ audiences find difficult to relate This will be the exacting nipeg Ballet's medal-winning to, were quickly and easily London critics' first opportunity ballerina, was in Ottawa, understood by the country to see Hart dance the role for October 5, to be invested by people. which she has already been Governor General Edward There were many opportuni­ acclaimed in Winnipeg, Toronto Schreyer as an Officer of the ties for discussions with the and on tour across Western Order of Canada. Accompany­ Chinese artists and Keith and Canada. ing Hart to the presentation Maria also taught numerous While with the SWRB Hart ceremony, held in the ornate classes and gave improvisations will also dance in two perfor­ ballroom at Rideau Hall, was at the end of each concert. They mances of Sir Kenneth MacMil­ her teacher and mentor, David found the Chinese had no word lan's popular ragtime romp, Moroni, head of the RWB's for improvisation! "The artists", Elite Syncopations, ( 10 and 11 professional division school. says Formolo, "would grab us January). "After all", said Hart, "I owe so and feast off us". There are rumours that Peter much of this to him". In Japan, Formolo and Wright, the SWRB's artistic The itinerant ballerina then Urban made contact with the director, is anxious for Hart to left the next day for Osaka, 30-member Hisako Ozawa dance her first full-length Swan April Chow of Saskatchewan Japan, to appear as guest artist Modern Dance Company. The Lake with his company and the Theatre Ballet - in her former of the Homoura Tomoi Ballet in two dancers hope to find a way busy Toronto-born ballerina has student days a regular participant a performance of Giselle. She to bring the troupe to North in the Moose Jaw Festival of a daunting list of guest engage­ was back in Winnipeg in time to America and plan a return visit Dance. ments on her schedule for 1984, appear in Arnold Spohr's 25th toJapanin 1985. including appearances with the Anniversary Gala and was then Chamberlain. A recent innova­ Ballet de Marseille Roland Petit. tion in the adjudication process off to Europe - to a gala in SASKATCHEWAN is the use of audio tape record­ Munich, to buy pointe shoes in ings in which the judges' com­ Vienna, and then again to Osaka ONTARIO The Moose Jaw Festival of Dance ments are heard against the for another Giselle. will be celebrating its 25th background of the performance Hart returned to Canada in The National Ballet's fall season Anniversary in 1984 and already music so that a dancer can early November to begin rehear­ opened November 9 with John preparations are well under way pinpoint exactly what is being sals for the RWB's Nutcracker Cranko'sRomeo and Juliet. for the week-long event, to be discussed. season but will leave for Eng- Guest artists included National held in Moose Jaw's 800-seat The festival is run by a Peacock Auditorium, May 7-13. 22-member board of directors The annual festival, which and a further 60 to 70 volunteers nowadays draws participants are required during the festival from beyond Saskatchewan, week itself. began as an offshoot of the The culmination of the festi­ Moose Jaw Music Festival and val is a concert showcasing select remained part of that event until performances from the week's 1977. entries. Its purpose is to provide a forum for dancers, teachers, Odette Heyn and Diane Fraser choreographers and for those will present an Evening of with other dance-related inter­ Contemporary Dance in Regina ests. In particular it provides at 1876 Wallace Street (Jan. 6, stage performance experience 7). Fraser, who is a dance for dancers ranging in age from teacher at Regina Modern 5-years-old to young adults. Dance Works and Heyn who is Competition categories Director of the Winnipeg Con­ include classical ballet, charac­ temporary Dancers Professional ter, demi-character, ethnic, program, are joined by Alana national, tap,jazz, musical thea­ Shewchuk and Desiree Klee­ tre and choreogra_phy. Over the man, both apprentices with years, the festival has attracted a Winnipeg Contemporary long list of distinguished Dancers and Robyn Allan, of teachers to act as adjudicators, the Regina Dance Works perfor­ mance group. The program will among them Vincent Warren, Evelyn Hart receives the insignia of an Officer of the Order of Canada Earl Kraul, Gwynne Ashton, include works by Heyn, Fraser, from Governor General Edward Schreyer at a Rideau Hall in vestiture, Rachel Browne and Sonia Nanette Bevelander and Petre October 5, 1983. DANCE IN CANADA 43

Ballet founder Celia Franca in the role of Lady Capulet and American Ballet Theatre princi­ pal Patrick Bissell as Romeo. Corps de ballets member Kim Lightheart made her debut as J uliet opposite Peter Ottmann and the National's newest princi­ pal, Marco Pierin, danced his first Romeo opposite Mary Jago. The second week featured a mixed program of one-act ballets including two company premiers and the world premier of resident choreographer Con- tantin Patsalas' L'Ile lnconnue, se t to Hector Berlioz's Nuits d' ete, Songs for Mezzo Soprano and Orchestra, sung by Janice Taylor. Artistic director Erik Bruhn'sHere We Come, origi­ nally created for students at the _ ational Ballet School and res­ taged for the Royal Ballet School in England, is a show-off piece for the male ensemble, set to a selection of martial music by American composer Morton Gould. Also new to the com­ pany was the regal Sylvia Pas de Deux. It was choreographed by George Balanchine in 1951 to the music Leo Delibes com­ posed for the original full-length Gizella Witkowsky as Mercedes in Don Quixote. The ballet closed the National Ballet of Canada's fall season in Toronto on November 27. ballet in 1876. The National's version is that formerly danced by Andre Eglevsky. perform in the Gala as the theatre and is the work ofTDT ofMcCann's newest work The season concluded with teacher in his Master Class in resident choreographers David Ladies Home Journal. Coming performances of Don Quixote Concert. Among others appear­ Earle, Peter Randazzo and up in the new year are three staged in 1982 by Nicholas ing in this gala will be Danny Christopher House, as well as Toronto groups, Dancebreakers Beriozoff to the music of Lud­ Grossman, dancing his solo, guest choreographers Carol (Jan. 4-7), Pavlychenko Studio ,._.;g Minkus. Curious Schools of Theatrical Anderson of Dancemakers and (Feb. 15-18) and T.I.D.E. (Feb. Dancing, Part I James Kudelka of Les Grands 29-Mar. 3) and America's Foot­ Erik Bruhn, in his first year as The company's winter season Ballets Canadiens. path Dance Company (Mar. artistic director, has planned a at the O'Keefe Centre (Feb. In January, 1984 The Toronto 21-24). season that runs the gamut from 8-26) opens with Sir Frederick Dance Theatre embarks on a Toronto Independent Dance ful l-length classical ballet to Ashton's charming La Fille Mal month-long tour of eastern Can­ Enterprise opens its fifth modern dance. Bruhn has Gardee. The second week offers ada. The company will visit 15 Toronto season with a new work JJvited some of ballet's greatest a mixed-program including cities including Montreal (Jan. directed by company member -iars to appear in the 1983-84 Serenade, Eludes, a new ballet by 19-21), St. John's (Jan. 30, 31), Sallie Lyons at the Winchester season. Natalia Makarova will American choreographer John Halifax (Feb. 4) and Quebec Street Theatre (Dec. 7-10). ,et her Kirov-inspired version of McFall and a distinctly modern City (Feb. 15) and return to work, Endangered Species, by :_n Bayadere Act II on the Toronto in time to perform Toronto's Danceworks presents mpany. Rudolf Nureyev will Danny Grossman. The winter David Earle's Miserere at the "The Western Connection" at ppear in the opulent produc­ season closes with Bruhn's Swan National Ballet Gala at the Harbourfront (Dec. 1-3) featur­ Lake. t.on of The Sleeping Beauty O'Keefe Centre (Feb. 18). ing new works by Christian -hich he set on the National in Swenson and Helen Walkley of :972 and Mikhail Baryshnikov The Toronto Dance Theatre pres­ The Harbourfront Independent Seattle, Washington, and Peter i ll perform with American ents a special holiday produc­ Dance series opened on October Rya n and Peter Bingham of 3allet Theatre dancer Robert tion, - Court ofMiracles - at 12 with a performance by Leslie Vancouver. as well as Toronto _aFosse in John McFall's Fol­ the Premiere Dance Theatre Friedman, a solo dancer from choreographers }.lurray Dar­ w The Feet as part of the (Dec. 14-23). It will feature California. The series continued roch and Kai Lai. Ryan and -ational Ballet Gala on Febru- many noted guest artists in the in November with Peggy Bingham will also perform a -:y 18, 1984. Bruhn himself will fields of dance, music and McCann and Dancers' premier duet by Steve Paxton with 44 DANCE IN CANADA

and John Weinzweig. It is the the Ottawa Symphony Orches­ first television project in which tra, the Cantata Singers, the the National Ballet served as its Ottawa Board of Education own production company and Children's Choir and guest the sale to BBC is a significant artists Karen Kain and Frank step for the company into the Augustyn. TBC will perform at international television market. Toronto's Premier Dance Thea­ Originally taped for C­ tre January 10 to 14. Channel, Newcomers is directed by Macdonald and features The Winchester Street Theatre is Veronica Tennant, Raymond the new name of the Toronto Smith, Vanessa Harwood and Dance Theatre's studio theatre. Sean Boutilier. The name change is intended to differentiate the performing Amelia Itcush, noted Toronto venue from the dance company teacher and dancer, has recently and avoid confusion when visit­ opened her own studio in ing dance, theatre and music Toronto. A member of the troupes rent the space to give Toronto Dance Theatre, I 968- their own shows. The Winches­ 1973, she has been studying ter Street Theatre is located, at Alexander Technique for the last 80 Winchester Street in Toron­ 10 years and is currently evolv­ to's trendy Cabbagetown. ing a training process with a built-in injury prevention factor. QUEBEC Itcush plans eventually to develop a performing company Momment'homme, a festival of trained in her Alexander male choreographers, brought Lois Smith, winner of the 1983 Dance Ontario award, as she appeared in inspired movement style. together I 7 dance artists from Antony Tudor's Lilac Garden. See story, page 41. across Canada for two weekends Theatre Ballet of Canada pre­ of performances, workshops, movement drawn from a photo­ graphy by co-artistic director miered company artistic director films and exhibits at Tangente graphic score. Danceworks' first Carol Anderson, company Lawrence Gradus' ballet Morali­ Danse Actuelle in Montreal last choreographic workshop of the members Conrad Alexandro­ ties at a gala fundraising event at November. The series featured season, held at the Joseph wicz and Richard Bowen as well Ottawa's National Arts Centre works by Peter Bingham and Workman Auditorium (Dec. 14) as guest choreographers Karen on November 7. Moralities is set Peter Ryan of Vancouver, Tedd presents new works by Louise Rimmer and Murray Darroch. to music by contemporary Ger­ Robinson of Winnipeg, Kai Lai Azzarella, Chantal Bourgeois, The shows highlighted Dance­ man composer Hans Werner and Murray Darroch of Sarah Dickie, Peggy McCann makers' more creative, experi­ Henze, written in 1967 to a text Toronto, Massimo Agostinelli, and Patricia Wynter. mental side and played to by W.H. Auden, based on Yves Lalonde, Joel Simkin, packed houses in the company's Aesop's Fables. Sets and cos­ Andrew Harwood, Daniel God­ Flashdance has spawned a new recently renovated Toronto tumes are by Jack King and live bout, Gilles Simard and Gilbert performing company - Dance studio. narration is by Celia Franca. Beaudry of Montreal and per­ Manic. George Curtis Ran­ The gala, sponsored by North­ formance artists Tim Miller of Kei Tekei, founder of the New dolph, a former member of the ern Telecom Limited, featured New York. Alvin Ailey Dance Company York-based dance company and Les Ballets Jazz de Mont­ Moving Earth, was choreo­ real, is the director of the troupe grapher in residence at York which orginates in Ottawa and University's Dance Department has a performing branch in during October. While at York Toronto as well. Dance Manic she choreographed a new work will appear in bars and clubs in on the students for performance both Ottawa and Toronto and, in the Spring Concert in March 1984. Rigorously avant garde not surprisingly, a television deal is in the works. Dancers in the and individual in her approach company include Susan Wright, to dance, Kei Tekei is best Mara O'Connor, Daniel Dage­ known for her epic work Light, nais, Monica Jeffrey and Karen begun in 1969 and now consist­ Zissof. ing of 18 parts. BBC Television has purchased Dancemakers presented two in­ the National's television produc­ studio programs this fall, of tion of Newcomers, Brian Mac­ primarily new works by com­ donald's ballet set to the music pany members. "Solo Show" in of four different Canadian com­ Andrew Harwood in Eau. Harwood was instrumental in bringing to September and "Close-up" in posers, Harry Freedman, Montreal male choreographers from across Canada for a special series December featured new chorea- Lothar Klein, Andre Prevost entitled Momment'homme. ------"Ii

DANCE IN CANADA 45

Fortier Danse-Creation, for­ Paris festival were called, 'the of Dance Umbrella (November NOVA SCOTIA :nerly known as Danse Theatre sweet surprise of the last hour', 4-6) and on to Manchester, Paul-Andre Fortier, has recently by French columnist Guy (November 8 and 9) and Bristol, Nova Dance Theatre of Halifax ret urned from an appearance at Lagroce. However, Le Monde's (November 11 and 12). La La has received a sizeable govern­ _i exico's Festival Internacional noted dance critic, Marcel La then crossed the English ment grant which will assist the Cervantino and a three-week Michel, took Les Ballet Jazz to Channel for appearances in company in its operations for tour throughout the country. task for what he termed, 'a lack Paris, (November 25 and 26). the next six months. The first The eight-member troupe has of a choreographer capable of In February, Edouard Lock step taken by artistic director rwo new dancers, Cheryl gestural invention or energy'. and creative companions will Jeanne Robinson was to hire Prophet and James Saya. Marcel praised the dancers but undertake a tour of Western three new dancers - Andre blamed choreographers Judith Canada with visits to Edmon­ Fairfield, whose experience Marcuse, Rael Lamb and Daryl ton, Calgary and Vancouver - ranges from work with Le Dansepartout toured Quebec Gray for producing dances that dates to be announced. The Groupe de la Place Royale to and the western provinces this were, 'drowned in stereotypes'. same month, La La La will also performances of Rocky Horror all with a program of works "Though the critics did not all perform in Seattle, Washington. Picture Show in Las Vegas and choreographed by artistic direc­ agree, the performances were Hollywood, Christiane Miron, or Chantal Bellehumeur and covered by all the major news­ Atelier de Choregraphie de Mont­ who has performed and taught guest choreographers Maria papers, suggesting that French real is a new non-profit corpora­ in Montreal with Linda Rabin's Formolo and Keith Urban of critics now consider Les Ballets tion founded to promote dance Danse Moderne and Cliff Edmonton's Formolo and Jazz to be an important com­ in Quebec, specifically, to pro­ LeJeune, an Atlantic-based -rban Dance. duce performances which fea­ The Quebec City-based mod­ pany and one worth watching in dancer who has spent the last ture free-lance dancers and ern dance company performed the future". year dancing and teaching in choreographers. The Atelier, n Drummondville, Trois Newfoundland. Company vete­ La La La, the company of directed by Michel Boudot, will Rivieres and Montreal; western ran Louise Hoyt will continue to dancers led and inspired by also provide agency and consul­ cities included Edmonton, Van- work with NDT as will frequent Montreal-based, Chalmers tation services in the field of ouver and Powell River, B.C. guest artist Francine Boucher. Award-winning choreographer Dance. The Atelier represents Returning to Quebec in The company is currently Edouard Lock, made its British numerous Montreal dance Deceml?er, the company gave busy remounting existing works debut in Leicester, England, artists and has produced two performances at the Grand and creating a lecture- November 2. The company shows this fall. Entitled "Nou­ Theatre (Dec. 9, 10) featuring . demonstration and touring pro­ presented Lock's latest extrava­ velles Tetes '83-'84" , the pro­ guest artists Nina Watt and gram. Choreographers Jennifer ganza, Businessman in the Pro­ gram was presented at Victoria Collin Connor of the Jose Mascall and Francine Boucher cess ofBecoming an Angel, which Hall in Westmount in Sep­ Limon company. will join Jeanne Robinson in was then taken to London for tember and at the Tritorium in creating new works for the performances under the auspices October. company's next home season at Les Ballets Jazz de Montreal the Dalhousie Arts Centre in became Les Ballets Jazz de Paris January 1984. for a brief week in late October when the company appeared as The Atlantic Ballet Company :he only Canadian representa­ toured throughout Nova Scotia live at the French capital's this fall performing artistic direc­ International Dance Festival. tor Marijan Bayer's version of The ornate 2,000-seat Theatre Romeo and Juliet and ballet des Champs Elysees was virtu­ master Donald Paradise's stag­ ally sold out for the 5-day ing of Les Sylphides. In engagement and received an November the company tra­ enthusiastic response from velled to Bermuda to give six _ud iences. However, although performances of Bayer's .;Jost of the critics liked the Nutcracker. cancers very much the, program : ey performed drew a mixed NEWFOUNDLAND :ritical response. Richard Evans, Paris corres­ The Newfoundland Dance Thea­ ndent for CBC-FM's Stereo tre made an island-wide tour in 1 fo rning, phoned to give Dance November performing a pro­ Canada his assessment of Les gram of works choreographed 3allets Jazz's Paris engagement by company co-directors Gail st as we were going to press: Innes and Linda Ri msay. The "Les Ballets Jazz were gener­ productio n, entitled Fresh Dan­ y praised for their energy and ces Watered, played at the local ·echnical skills and standards. Arts and Cult ure Centres in Sc. ?aris's daily newspaper Le Quo­ John's, Gander, Grand Falls, ·idien praised the company for Corner Brook and Stephemille. · , 'almost heart-breaking disci­ : ·ne'. Les Ballet Jazz's perfor- ances, coming at the end of the 46 DANCE IN CANADA

fff Universitildu Ouilbeci, Montrea l

Programme de baccalaureat en danse

Cheminement general: danse contemporaine, creation et fondement theorique de la danse DANCE Cheminement enseignement: pratique et theorie FALL/WINTER 83/84 de la danse, formation psycho-pedagogique Date limite des demandes d' admission pour SUMMER84 r automne: 1 er mars FEATURING: Renseignements: • Four-year degree programs in performance (BFA) Module de Danse or dance studies (BA) Universite du Quebec a Montreal • Daily study in ballet and modern techniques; specialized courses in history, criticism, dance case postale 8888, succursale A therapy, teaching, notation, composition, Montreal, Quebec H3C 3P8 repertory (514) 282-4059 • Graduate Studies (MFA) in dance history and criticism • Special summer courses and workshops (credit and non-credit); May to August. Current brochure available each February.

For further information, contact: Room 240, Department of Dance, Faculty of Fine Arts, York University, 4700 Keele Street, Downsview, Ontario, Canada M3J 1 P3 Te lephone: (416) 667-3243

the floyd 8.C halmers fund administered by the O n tario Arts C ouncil M AJOR AWARD S IN THE PERFORMING ARTS

FOR TRAINING FOR CREATION These juried awards assist professionals in th e These juried awards assist professionals in the performing arts to study w ith an outstan ding performing arts for th e creative costs of u nique master teacher or at a recognized institution. Canadian works of in novation and statu re. (Production costs are ineligible.) Ontario residents who h ave completed all preliminary training are eligible to compete. Ontario-based creative artists m ay apply indi­ Applicants m ust have proof of acceptance by the vid ually or as a member of a creative team for master teacher or accredited institution. monies to sustain them d uring th e creation of a new work. Artists apply ing on their own behalf The application deadline for the Performing Arts must indicate in terest or sponsorship by a pro­ Training Awards is Feb ruary 15,1984 for study fessional performing company. projects in 1984/1985. Ontario-based performing arts companies may also apply on behalf of one or more creative ar­ tists who w ill create a new work for the com­ pany's use. Awards are made to indiv iduals only. The application deadline for Creation Awards is January 15, 1984 for projects beginning in 1984.

For detailed information and applications, contact: The Floyd S. Chalmers Fund Ontario Arts Council, 151 Bloor Street West , Suite 500 Toronto, Ontario M5S 1T6 • (416) 961-1660 DANCE IN CANADA 47 Letters to the Editor

Montreal jeune choregraphe Howard revelee dans cette oeuvre; son envolee de ses propres ailes. C'est en parcourant une critique Richard, en premiere theme de la folie, dansee par de Dans l'attente du prochain sur Pointepienu signee de Kati montrealaise Cast dance to an jeunes "punks" eveilla en nous spectacle, j'ose esperer lire une Vita, parue dans votre numero Indigo Night ( 1983). De Louise un besoin d'eelatement, sans critique plus honnet, d'ici la, que d'automne 83, que j'ai decide a Latreille, ii y avait quatre oublier le superbe montage le spectacle commence, la Cie mon tour de prendre la plume et oeuvres dont une ancienne sonore base sur une chanson de Louise Latreille et Pointepienu de mettre un peu de lumiere sur Initiation ( 1979), le Ballet d' Intro Nina Hagen et la musique de est nee. un spectacle qu'on a ( 1982), le Carrousel de la Vie Gerard Leduc. Louise Latreille, Michel Vinet mechamment descendu en (1982) et la seule toute recente pour la premiere fois s'est quelques lignes. intitulee lch Grolle Nicht, cree en L'article en question ne cite ni 1983. les oeuvres qui y furent L'ecole Mudra n'est pas A presentees, ni Jes noms des assimilee! Voita une assertion danseurs et des choregraphes assez bizarre enoncee par Kati FREE invites. On n'y mentionne pas Vita. Pour avoir vu la derniere SUBSCRIPI'ION non plus !'absence de pres de oeuvre de Louise Latreille !ch lo deux ans de la troupe Grolle Nicht, je ne saurais Pointepienu sur la scene manquer d'affirmer que c'est sa ARTHRITIS montrealaise. C'est a se piece la plus reussie a tous Jes NEWS demander si Kati Vita a assiste niveaux et surtout la plus Canada's only official lay publication au meme spectacle que moi. Elle personnelle. Sans jouer au about arthritis, is available at no chorge by writing: parle de cinq oeuvres recentes de critique permettez-moi de me ARTHRITIS NEWS The Arthritis Society Louise Latreille, ce qui est considerer comme un simple 920 Yonge Street, Suite 420 Toronto, Ontario inexact. Le programme "afficionado" de la danse. Mon M4W3J7 comptait six oeuvres, dont une estime pour Maurice Bejart est de Judith Marcuse intitulee sans bornes - quanta Louise "35 Years of Service to Canadians" Elegy ( 1983) et une autre du Latreille elle s'est vraiment

Friends of Terpsichore Katie Adelman P.O. Box #563, Postal Station 'Q', Robert S. Williams Toronto, Ontario M4T 2N4 (416) 651-7262 CANADA'S ONLY BOOK STORE THAT DEALS SPECIFICALLY IN USED, RARE and ANTIQUARIAN DANCE BOOKS We carry all types ofdance books: Biographies Technical Manuals Anthropology Physical Culture Criticism and Aesthetics Music Social Dance plus magazines, Histories Photography Expression and programs and much more These are some examples of titles now available* Loie Fuller. 1913. 15 Years ofa Dancer's Life. . $ 28.00 Andre Levinson. 1934. Serge Lifar: Destin D'un Danseur. $110.00 Louis Horst. 1937. Pre-Classic Dance Forms...... $ 21.00 Anatole Chujoy. 1953. The New York Ballet...... $ 14.00 Cyril Beaumont. 1938. The Complete Book of Ballets...... $ 40.00 Marcia Siegel. 1977. Watching the Dance Go By...... $ 18.00 Ruth Radir. 1944. Modern Dance for the Youth of America...... $ 9.00 Alexander Bland. 1979. Fonteyn and Nureyev...... $ 12.50 Verna Arvey. 1941. Choreographic Music...... $ 25.00 Ted Shawn. 1929. Gods Who Dance...... $ 65.00 Carl Van Vechten. 1981. The Dance Photography of Van Vechten...... $ 22.50 Beth Tolman & Ruth Page. 1937. The Country Dance Book...... $ 7.00 S.S. Curry. 1907. Foundations of Expression...... $ 5.50 John McDermott & K. Taft (eds.). 1932. Sex in the Arts...... $ 25.00 THIS YEAR MAKE A DANCE LOVER A BOOK LOYER TOO :nrn A GIFT FROM TERPSICHORE Cataiogues and lists available. Stock can be viewed by appointme . *Subject to prior sale Dance at a Glance

American Dance Guild Ecole de Danse Pointe~ienu. Programme Lois Smith Theatrebooks Limited Book Club de formation professionnel ballet George Brown College 659 Yonge Street, Toronto, Ontario, Ballet, modern, technique, biography: classique, danse moderne, directeur School of Dance M4Y IZ9. the best and the newest at discount. Claude Champoux. 5415 Chemin Queen 200 King Street East, Toronto. Canada's finest selection of Dance Write Box 109 , Princeton, NJ 08540 Mary, Montreal, Quebec H3X IV I. (416) 363-9945. books. USA. (514) 487-5622. Ballet, Pointe, Character, Modern, Jazz, Junior, Senior and Adult Classes. The Friends of Terpsichore Anna Wyman School of Classical ballet and modern classes. For Two-year diploma program­ All types of DANCE BOOKS bought Dance Arts information: Ecole de danse professional level. and sold. Catalogue available. 1705 Marine Dr. West, Vancouver, BC Pointepienu, 5415 Chemin Queen Mary, P.O. Box 563, Postal Station Q V7V IJ5. Contemporary, ballet,jazz, Montreal, Quebec H3X I VI. (514) 487- Lumitrol Limited Toronto, Ont. M4T 2N4. dance exercise. Children's training 5622. Spotlights, Dimmers, Curtains, (416) 651-7262. program and adult classes. Supplies, Professional System design, (604) 926-6535. Edmonton School of Ballet rentals, sales. 253 Merton St., Toronto, The School of Dance General and professional programme. OntarioM4S IA7.(416)485-481 7. Merrilee Hodgins/ Joyce Shietze Ballet, Etc . ... P .O . Box 351, 7330-I IJth St., Edmonton, Alta. T6G 1339 Wellington St., Ottawa, Ont. C harlottetown, P.E.I. C IA 7K7, 902- ILG. Ontario Ballet Theatre KIY 3B8. (613) 729-3756. 894-4608. Ballet, Jazz, RAD classes, Performing Oct. 25-April 30 . For Pre-Professional Programme Junior Performing Company. Goh Ballet School information call: 656-9568. and Senior School. Classical ballet, chinese dance, Bayview School of Ballet under the c haracter,jazz, pre-school to adult, Ontario School of Ballet The School of the Toronto direction of Bella Kovarsky. Ballet professional training program. 2 studios and Related Arts Dance Theatre (Russian Method) character and Jazz. in Vancouver, BC . 1069 St. Clair Avenue West (midway 30 Winchester Street, Toronto, Ontario Al l levels. 130 Willowdale Ave., (604) 872-4014. between Oakwood and Dufferin), M4X IB2(416)967-6887. To ronto. (416) 222-5111. Toronto, Ont. M6E IA6, Phone: 656- Three-year professional training Grant MacEwan Community College 9568. Registrations accepted 4 terms programme in modern dance. Entrance Ca nadian College of Dance- Edmonton Alberta. 2 year diplo ma in per year. by audition only. Also offering open Ryerson Theatre Dept. d ance or dance teacher training. classes in modern and exercises for Teacher training Course. Coaching Nationally renowned instructors. Call 1- PEI Ballet Association adults and children. Principal: Billyann for RAD and !STD exams. 50 403-483-2331. (Ballet, Pre-Ballet, RAD, Adult, Balay. Gould Street, Toronto M5B IE8, Jazz-Stretch, !STD National) 595-5086. The Kathak Institute, Rina Singha Classes Mon-Sat. Info (902) 892-1610 Tinda Holland School of Dance 307 Ancient classical temples and court or (902) 436-2498. PO Box 2384, Bering Ave., Etobicoke, Ont. M8Z 3A5. Centre of Movement, dances of north India. Training, beg. to Charlottetown, PEI, CIA SC I. Ballet - Character, Cecchetti and 171 Hampton Ave. , Toronto M4K prof. research and conservation. 173 Russian. Jazz - Alvin Ailey & Adult. 223, 466-9549. Priva te sessions, Coxwell Avenue, Toronto M4L 3B4. Quinte Dance Centre Fitness Studio Rental Available. 416- classes & workshops. (416)463-1710. Full professional program to graduate 239-011 I. T eacher/ Director: Leslie French. level. Enquiries invited for winter and Le Groupe de la Place Royale. Complete summer schools. Box 534, Belleville, York University: Classical Jazz Dance Company modern dance program. Beginner to Ont. K8N 5B2 (6 13) 962-9938. Dance Department Hal Mischka, Director. Blending Ba llet Professional levels. Spring, Fall & Dianne L. Woodruff, Chairperson, with contemporary jazz movements. Winter Sessions and Annual Summer Russian Academy of B.A. (Hons), B.F.A ., (Hons) in 427 A Queen St. W., 3rd fl., School. 130 Sparks Street, Ottawa. (6 13) Classical Ballet Ltd. Performance Choreography, Notation, Toronto M5V 2A5. 235-1492. Mary Aslamazova, Director. Classes Teaching, History, Criticism, Dance (416) 593-0696. day and evening, from beginners to Therapy; M.F.A. in History and London Academy of Dance and Theatre professionals. 935 Bl oor St. W. (at Criticism. SUMMER SESSION: Credit Concordia Uni versity Arts. Dorothy Scruton, Principal, Ossington), Toronto, Ontario, M6H or non-credit. (416) 667-3243, 4700 7 141 Sherbrooke St. West Training to professional standard by !LS (416) 532-2993. Kee le St., Toronto, Ontario Montreal, Quebec H4B I R6 highly qualified staff. 432 Waterloo St., M3J IP3. Developing Programme in Modern London, Ont. N6B 2P2. (519) 439-8961. School of Winnipeg's dance & Creativity in scholastic year. Contemporary Dancers Professor Elizabeth Langley. Kyra Lober Modern, Ballet, Creative Dance, J azz, T el: (514) 879-5803. Developmental Movement General, Pre-Professional, Professional Repatterning, a therapeutic method Programmes. 2nd F loor, 444 River Jim Dawson Photowork. Promotional which facilitates one's a bility to move Avenue, Winnipeg, Manitoba R3L photography for performers and with more freedom, ease, grace and 0C7. (204) 452- 1239. organizations. Resume and portfolio efficiency. Private sessions and shots; poster, brochure, publicity. workshops. Also classes in Feldenkrais Joseph S hulman, The O th er Classified ~tudio 2, 2 Boulton Ave., Toronto, Ont. Awareness Through Movement. Call Agency, Pu blic Relations M4M 213.(416) 465-6716. (416) 924-3469 Toronto. 1179A Bloor St. West, Toronto, Ontario M6H IM9. Telephone (416) Art istic Director. A prominent Toronto DianaJablokava-Vorps School of Les Ballets Jazz, Ecole Superieure 532-65 I 9. dance school needs a full time Artistic Classical Ballet- Kirov Method 1231 St. Catherine St. W. Director. The successful appli cant will Art. Dir.: Toronto Regiona l Ballet and (514) 849-6071 Simon Fraser University Centre have at least 15 years ex perience in this Toronto Summer School in Dance. Montreal, Q uebec H3G I PS for the Arts field, including teaching, performing 1920 Avenue Rd. , Toronto, Ont. M5M Ministry of Education Grant Strate-Director and administrati on. A working 3B9. (416) 489-7597. Permit #749889 BA degree program with a dance knowledge of technical theatrical Jazz, Classical , Tap major in an interdisc iplinary fine and production is required. French is a Douglas D. Durand 3-D Arts Prof. Adv. int. Beg. performing arts department. definite asset. Apply in writing with full Management. Bookings & Tour Scholarshi ps. Contact Tony Besant resume and 3 references to: Box IO I, Coordination Publicity & Public Founders: Genevieve Salba ing, (604) 29 1-3363. Dance In Canada, 38 Charl es St. E., Relatio ns, P.O. Box I 182, Station F, Eva von Gencsy. Toronto, Ont. M4Y !Tl. Toronto, Ontario M4Y 2T8. (4 16) 922- Sun Ergos, A Company of 8649. Les Ballets Russes de Montreal Theatre and Dance Dance Teacher. Toronto dance school Director: Mikhail Berkut. Classical Dana Leubke & Robert G reenwood, needs a full-time jazz teacher. Should Ecole Dansepartout Ba ll et (Russian Method), Ballet-Jazz, Directors 2205, 700-9th St. SW. , have extensive training in ballet, modern easier postal 597 , H aute-Ville, 336, rue Character Dances, Beginners to Calgary T2P 2B5. Tel. (403) 264-4621. and African movement, a t least 5 years de Roi, Quebec, Quebec G I R 4S2. Professionals. Courses year round. Performances-Classes. teaching experience and have danced (4 18) 525-4657. Permis du mi nistere de Kalinka Slavic Dance Company. with at least one major company. Apply !'education #669584 Cours de danse 1231 St. Catherine St. W. , Montreal in writing with full resume plus class ique, da nse moderne, jazz, danse H 3G IP5;(514)288-1677. references to: Box IOI , Dance In creative; ateliers; programme de Canada, 38 Charles St. E. , Toronto, boursiers; (debutants a professionnels). Ont. M4Y IT!. IN PEZIO

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Six sizzling dancers from Tommy Tune's "My One And Only" warm up in Capezio's S Ion/ Lycra ® and the Be-Good-To-Your-Body Knits . Niki Harris in the Rolldown Bodywarmer. Karen am 't"'JllOY!'!'I" S ea er a nd nifty Tap Pant. Jill Cook in the Muscle Sleeve leotard. Merilee Magnuson in the Off-the-~ :>vtc:>ei"--.,~, s· or in the sleek Tank Solotard in nylon/Lycra®. Stephanie Eley in the new All-Over Bodywarmer. Capezio Authentic Dance Sneaker made on a dancer's last. "My One and Only" is a hot ticket and so is this Capezio "one and on ly" cn•i.- .,.,.., For free brochure of our Dance Exercise Collection and for your nearest a e to: Bal let Makers, Inc. Dept. DIC 1283, 1860 Broadway, New York, N.Y. 10023. I CE 1887® )-- /7 ® · les ballets Jazz•

THE CHALLENGE OF PERFECTION

Winter Session starts January 3rd. Audition for Toronto School's Professional Training Program Monday,January 16th.

Montreal Laval Quebec City 1231 St. Catherine St. W. 1950 Blvd. de la Concorde E. 880 Per~Marquette Montreal, P. Q. H3G 1P5 Laval, P. Q. H7G 4P5 Quebec, P. Q. G1S 2A4 (514) 849-6071 (514) 669·9211 (418) 687·3081 Artistic Director • Genevieve Salbaing Toronto 207 Adelaide Street E. Toronto, Ontario MSA 1 MS (416) 862·7114 Ballet Artistic Director • Juan Antonio Jazz Write or call for our free brochure Modern