ILBIJERRI Theatre Company / Kidd Pivot - DanceHouse

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ILBIJERRI THEATRE COMPANY presents Blood on the Dance Floor

KIDD PIVOT Revisor | World Premiere

BY JACOB BOEHME

CREATED BY CRYSTAL PITE AND JONATHON YOUNG

FEBRUARY 6–9, 2019 SFU GOLDCORP CENTRE FOR THE ARTS

FEBRUARY 20–23, 2019 VANCOUVER PLAYHOUSE

Production Sponsor ANNDRAYA LUUI

Production Sponsor ANNDRAYA LUUI

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Absolutely mesmerizing!!!

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Truly spectacular.

—Eliza T. 10/26/2018

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The acting is brilliant and the story is touching. I want to see it again!

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DanceHouse // Welcome HAPPY 2019 TO ALL AND WELCOME BACK TO THE THEATRE WITH DANCEHOUSE. We are proud and thrilled to partner with SFU Woodward’s Cultural Programs and Talking Stick Festival to present Jacob Boehme’s Blood on the Dance Floor. I have had the pleasure of getting to know Jacob over the course of a few years as our paths crossed at various international arts gatherings. With each meeting, I am struck by his tireless commitment to courageous storytelling and I return home inspired to share his work with Vancouver audiences.

The opportunity finally came together with the generous support and partnership of SFU Woodward’s Cultural Programs and Talking Stick Festival, and together we have the honour of sharing this challenging, poignant work.

Later in February we return to the theatre for the highly-anticipated world premiere of Kidd Pivot’s Revisor.

DanceHouse is honoured to support the creative work of Kidd Pivot as both a co-producer, with the support of Anndraya Luui, and presenter — on a truly international stage, as we welcome some 30 presenters from around the world, alongside national and international dance fans and media personnel to Vancouver. And of course, the evening (only the third world premiere DanceHouse has ever presented) becomes all the more exceptional as we celebrate so many Vancouver-based talents in what promises to be an unforgettable experience.

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We have created a space — here in our community — for new Canadian dance, on the scale of Revisor , rich with Vancouver creative talent, to receive its premiere, and to welcome the world.

When the curtain closes on the final Revisor performance, and as the Kidd Pivot company heads off on tour to share this new work with the rest of Canada and the world, I invite you to join me in reflecting on, and celebrating what all of us in the DanceHouse and Vancouver community have achieved. We have created a space — here in our community — for new Canadian dance, on the scale of Revisor, rich with Vancouver creative talent, to receive its premiere, and to welcome the world.

Both Blood on the Dance Floor and Revisor represent programming streams we are passionately committed to investing in: the presentation of work by Indigenous artists and supporting the creation of new Canadian works. Without your support, none of it is possible. If you feel moved or inspired by either of the works you see this February, I encourage you to consider making a donation tonight in the lobby. Each gift, no matter the size, directly supports a diversity of voices on the DanceHouse stage and reflects your commitment to dance throughout our community.

Finally, allow me to share a personal thank you to the many local, national, and international partners we have worked closely with to bring these two works to the DanceHouse stage — it truly takes a (global) village.

Sincerely,

Jim Smith, Cofounder, Artistic & Executive Director DanceHouse respectfully acknowledges that the land on which we gather is the unceded territory of the Musqueam, Squamish, and Tsleil-Waututh First Nations.

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About DanceHouse MISSION: to present exceptional international calibre dance of scale to engage, inform and challenge, and to offer transformative cultural experiences for Vancouver audiences.

TABLE OF CONTENTS

DanceHouse was founded in 2008 by Jim Smith and Barb Clausen, and has since showcased vibrant and inspiring companies from Canada and around the world including works from Brazil, Finland, France, Greece, Israel, Japan, Sweden, UK, and USA among others.

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In addition to the performances on stage, DanceHouse supports community engagement opportunities (Speaking of Dance Conversations), artist talks (Speaking of Dance Pre-Show Talk), pre-professional and professional masterclasses by visiting artists, and socials with the visiting company. These events present a chance for members of the general public and the local artistic community to engage directly with the presented artists and their work.

DanceHouse is a program of the Seismic Shift Arts Society which is a provincial non-profit society and a federally registered charitable organization. Charitable registration number 86128 4255 RR0001.

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About DanceHouse

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ILBIJERRI Theatre Company Conversation with Keith Hamilton

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Building a Vancouver Moment

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Kidd Pivot

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Meet the Donors

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Speaking of Dance

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Supporters & Donors

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DanceHouse Personnel

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DanceHouse by the Numbers 10 YEARS OF DANCEHOUSE IS...

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FEBRUARY 6–9, 2019, 8pm

Co-presented by DanceHouse, SFU Woodward’s Cultural Programs, and Talking Stick Festival

ILBIJERRI THEATRE COMPANY presents

BLOOD ON THE DANCE FLOOR

SFU Goldcorp Centre for the Arts DURATION: 55 MINUTES

By Jacob Boehme WRITER & PERFORMER Jacob Boehme DIRECTOR Isaac Drandic CHOREOGRAPHER Mariaa Randall SOUND DESIGNER James Henry

SPATIAL DESIGNER Jenny Hector

VIDEO ARTIST Keith Deverell

COSTUME DESIGNER Kelsey Henderson

MOVEMENT COACH Rinske Ginsberg

DRAMATURGES Chris Mead & Mari Lourey

PRODUCTION MANAGER John Byrne

STAGE MANAGER Caleb Thaiday

TOUR CONSULTANT Fenn Gordon

TOUR PRODUCER ILBIJERRI Theatre Company

PRODUCTION SPONSOR Anndraya Luui Select Community Events presented with the support of Skwachàys Lodge, Raven Spirit Dance and the Australian High Commission, Canada.

ILBIJERRI Theatre Company // ABOUT ILBIJERRI is one of Australia’s leading theatre companies creating innovative works by Aboriginal and Torres Strait Islander artists.

Our productions have toured to critical acclaim across Australia and the world. We challenge and excite our audiences with contemporary stories about what it means to be First Nations in Australia today.

Established in 1990, ILBIJERRI is the longest running First Nations theatre company in Australia. Our creative processes aim to support First Nations artists and communities to have a powerful voice in determining the future of Australia.

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SFU Woodward’s Cultural Programs, Blood on the Dance Floor Co-Presenter SFU Woodward’s Cultural Programs is pleased to be partnering in tonight’s presentation of Jacob Boehme with DanceHouse and The Talking Stick Festival.

This collaboration follows on the very footsteps of our successful Chotto Desh co-presentation in November that played to near soldout audiences.

varying differences of Indigenous peoples’ experiences as both our countries work towards meaningful reconciliation and shared values.

ILBIJERRI Theatre’s Blood on the Dance Floor is unique in many ways. Its media rich digital style is well suited for SFU’s Fei & Milton Wong Experimental Theatre but beyond style or technique, the reflective spirit behind this work is consistent with the challenging themes we most welcome to our theatre.

We are equally delighted to have the remarkable Harlan Pruden, First Nations Cree scholar and activist, as a lead moderator to further elucidate us on this important discussion through the Speaking of Dance Series. Please join us in that conversation.

The creation of Blood on the Dance Floor is deeply rooted within Australia’s Aboriginal history offering Canadian audiences unique insights into the similar and

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The added beauty of Jacob Boehme is his ability to weave complex, raw, yet ever illuminating themes to his choreographic storytelling. As an HIV survivor his strength lies in his courage and tenacity to define himself within the turmoil of complex circumstances. The many questions he prompts are to some extent universal and bear reflection.

SFU Woodward’s Cultural Programs, Theatre, Dance, Film, Music, Digital Arts & Discourse 25+ cultural partnerships, co-producing and co-presenting 200+ professional, interdisciplinary arts events per year.

SFU WOODWARD’S CULTURAL PROGRAMS & PARTNERSHIPS Michael Boucher, Director Janice Beley, Producer Lori Strong, Project Coordinator Amy Lippett, Interim Communications Associate Resident technicians: Jean Routhier, Rodney Fenske, Darryl Strohan, Dylan Walmsley Acting Manager, Production and Technical Services: Miles Lavkulich Technical Consultant: Jessica Chambers

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To a great, inspiring evening!

Michael Boucher Director, Cultural Programs and Partnerships SFU Woodward’s

WE CONTINUE TO CHALLENGE THE NORM AS WE CREATE/PROVOKE/TRANSFORM.

Full Circle and the Talking Stick Festival, Blood on the Dance Floor Co-Presenter

The Talking Stick Festival is proudly presented on the traditional unceded territories of the Coast Salish People.

This festival of extraordinary Indigenous performance and art features some of the best emerging and established Indigenous artists Turtle Island has to offer. It provides a stage for artists from a variety of artistic expressions: theatre, storytelling, writing, music, spoken word, dance, and visual arts. It celebrates the traditional performance of many communities, as well as the contemporary and interdisciplinary work of Indigenous creators.

SIMON MAYER (Austria)

SONS OF SISSY

April 4-6, 2019 | 8pm

DAVIDA MONK (Canada)

ASHES FOR BEAUTY

For the weeks of February 19–March 2, 2019, Full Circle asks that the Talking Stick be placed in the hands of those artists who have gathered here, on the ancestral lands of the Coast Salish People.

May 23-25, 2019 | 8pm

Let their voices be heard.

Margo Kane, Artistic Managing Director Full Circle: First Nations Performance

FULL CIRCLE: FIRST NATIONS PERFORMANCE Proudly located on the traditional unceded territories of the Coast Salish people, Full Circle provides opportunities for Indigenous artists to create, work, and train in the Arts in an environment that fosters the development of skills, ideas, exploration, and collaboration. As producers of the annual Talking Stick Festival, Moccasin Trek: Arts on the Move!, Indian Acts and home to the Indigenous Ensemble, they create opportunities for Indigenous artists, writers and performers to work in harmony with cultural traditions while engaging contemporary, interdisciplinary theatrical techniques. Integral to Full Circle’s mandate is networking and collaborating with performing artists and arts organizations regionally, nationally, and internationally.

Learn more at www.fullcircle.ca TALKINGSTICKFEST

GLOBAL DANCE CONNECTIONS SERIES

Photo: Arne Hauge

The Talking Stick is a symbol of power, honour, and integrity among many tribal nations in North America. Its origins lie with Indigenous peoples as a means of communication at council meetings, war parties, and negotiations. Whoever wished to speak held the Talking Stick.

Whoever wasn’t holding the Talking Stick remained silent; carefully listening to the ideas of the Speaker and allowing them uninterrupted time and space to share their points of view. As a guide to those who were holding the Talking Stick to make good decisions, Indigenous people believe that the stick was imbued with spiritual qualities that called up the spirit of their ancestors. To better show its significance, Talking Sticks were decorated pieces usually elaborately designed in a multitude of ways including: carved with animals of spiritual significance or wrapped with hide, feathers, and bead work. Talking Sticks are still prevalent today in Indigenous communities and are presented to those who have demonstrated great leadership in their communities; to Chiefs and community members alike.

TALKINGSTICKFST

Photo: Tim Nguyen

Full Circle and the Talking Stick Festival are proud to be a partner with DanceHouse and SFU Woodward’s in bringing Jacob Boehme’s Blood on the Dance Floor to our communities. For many years, Canada’s Indigenous artists have forged meaningful relationships with our relatives in Australia and have appreciated the uniqueness of their culture, traditions, and spiritual connection to their ancestral lands. At this crucial time in the development of our Indigenous Arts communities, we welcome partners and allies to share the many stories that bring vibrancy and meaning to our shared histories across all cultural boundaries — real and imagined. Jacob’s story is one of many that we resonate with as we seek to find balance and inspiration to continue this journey together.

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Photo by Dorine Blaise.

ILBIJERRI Theatre Company // PROGRAM NOTES

WRITER’S NOTE

DIRECTOR’S NOTE

Why this story now? After 30 years of dealing with the global epidemic of HIV, the experiences of stigma, discrimination and silence around the HIV virus are just as present today, and are still being felt by people living with and affected by HIV/AIDS.

Anyone who has ever been in love can access this work. Blood On The Dance Floor is a semi-autobiographical, multi-art form experiment that employs dance and text to tell one man’s story. It tackles big themes and ideas.

By sharing my personal story, unapologetically, of being Blak, gay and poz, Blood on the Dance Floor is an opportunity to create a space for our mob to have a voice in the dialogue around HIV. A conversation at a table we have not been invited to in this country, which has so far been led by, and reserved for, gay white men.

Our mob have been dealing with HIV right from the early days, back in the 80s, mostly silently and with shame. And we are now seeing a spike in detection rates here in the state of Victoria, particularly among Indigenous women and IV drug users in our community.

Now, more than ever, we need to take our seat at that table, our silence broken and our voices heard.

– Jacob Boehme

When Jacob first approached me to direct this work I was instantly humbled by his offer. To be entrusted to help tell someone’s life story is a true privilege. I was Associate Director of ILBIJERRI Theatre Company at the time, and I had developed a passion for working with physical storytellers. The opportunity to work with a dancer of Jacob’s calibre was an enticing thought.

I have to take my hat off to Jacob for having the guts to share his story, his experiences, his fears, and his desires for all to see. Ultimately, Blood is about love. It’s about relationships, it’s about strength and resilience, it’s about courage, and it’s about hope. It’s about our fears of ending up alone. It’s about overcoming those fears and continuing to take risks, to be vulnerable, in the pursuit of happiness. But are we deserving of happiness?

Are we deserving of love?

While the world of this character, and his circumstances, are very specific to the challenges he’s up against, his desire to be loved and have meaningful relationships is universal. Whether you are gay or straight, white or black, female or male, HIV positive or negative, a dance or theatre fan, as long as there is blood running through your veins, there is a way into this world.

Blood is one of the most challenging works I’ve undertaken. In many ways, delving into the unknown world of dance and text meant starting all over again. We didn’t know the “rules” because there weren’t any, so we made them up as we went along. We tried many different ways to lift this work off the page. It was experiment after experiment and each time we threw ourselves into a creative development we got a little closer to finding the way through. We could spend an eternity exploring the form and still be in a world of the unknown.

– Isaac Drandic

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CHOREOGRAPHER’S NOTE Blood on the Dance Floor has been significant in that it has allowed me to witness, first hand, how an individual crafts their artistry. A place where words, ideas, dreams and intentions unfold to reveal the inner storyteller, whose voice you may be hearing for the first time tonight: Mr Jacob Boehme. And although it’s the first time, it is not without courage, without sorrow, without purpose, and nor the last time, I believe, you will hear it.

Blood has been an amazing, challenging, exceptional and inspiring work to be a part of. Thank you, Jacob, for having the courage and cracked-ness to find the words to share your story and for thinking of me to be beside you on this ride. I have loved sitting there with you, Isaac, James, Keith and the rest of the amazing team, holding on real tight and then throwing our hands in the air and laughing.

This creative journey has expanded the possibilities of what dance can be with text, and what movement can say without words. I feel I have only scratched the surface and there is still so much more to be uncovered. But those moments of uncertainty, while seeking clarity, have introduced me to other ways of generating, other ways of thinking, other ways of imagining. And can only be a part of pushing artistic boundaries into new positions, perimeters, possibilities.

Blood has also presented a moment to make conscious those practices that have existed in our Aboriginal cultures for many years through dance. Where text is the song and the gestures are the movement. Where repetition makes ritual and ceremony present. Where we pay respect to the dance styles that exist within our individual bodies as a means to reiterate our diversity while striving to remember the past.

– Mariaa Randall

// ARTIST BIOGRAPHIES JACOB BOEHME Writer & Performer Jacob is a Melbourne born and raised artist of the Narangga and Kaurna Nations, South Australia. Jacob is the founding Creative Director of YIRRAMBOI Festival, Melbourne’s premier biennial First Nations arts festival presenting innovation in contemporary and experimental First Nations arts practice from around the world and recipient of the 2018 Green Room Award for Curatorial Contribution to Contemporary and Experimental Arts.

Jacob is a multi-disciplinary theatre maker and choreographer, creating work for stage, screen, large-scale public events and festivals. Jacob currently sits on the Board of Directors for the Blackfulla Performing Arts Alliance, is a member of the International Advisory Panel for the Calouste Gulbenkian UK Enquiry into the Civic Role of Arts Organisations and the Australian Centre for Contemporary Art Yalingwa Advisory Committee. Alumni of the Victorian College of the Arts, Jacob’s solo work Blood on the Dance Floor premiered in 2016 and was awarded the 2017 Green Room Award for Best Production.

Blood on the Dance Floor is touring nationally and internationally in 2019.

ISAAC DRANDIC Director Isaac is Noongar from the south west of Western Australia and Croatian. He is a father, actor, dramaturg and award winning director. He trained as an actor in the Aboriginal Theatre course at the Western Australian Academy of Performing Arts and has worked with many of the country’s leading theatre companies including Melbourne Theatre Co, Malthouse, Sydney Theatre Co, Belvoir, ILBIJERRI and Yirra Yaakin. His Directing credits include: From Darkness (LaBoite Theatre 2019), City of Gold (Queensland Theatre 2019), The Season (Sydney Festival, Ten Days on the Island, Melbourne International Arts Festival (TasPerforms), Blood on the Dance Floor (ArtsHouse and ILBIJERRI 2016, Sydney Festival 2017),

Coranderrk (Belvoir), Coranderrk We Will Show The Country (LaMama, Melbourne Indigenous Arts Festival, Sydney Opera House), an ILBIJERRI production and Archie Roach’s concert show, Into the Bloodstream.

His shows have earned several Green Room Association Awards in both the Independent and Theatre Companies category including, Blood on the Dance Floor which won most outstanding independent theatre production in 2017.

The Tasmanian story The Season was nominated for eight Green Room awards winning for best new writing, best direction and the coveted award for best production in the Theatre Companies category in 2018.

Isaac has held the positions; Associate director of ILBIJERRI Theatre Company 2012–15, Resident Artist at Playwriting Australia and is currently the Resident Dramaturg at Queensland Theatre.

MARIAA RANDALL Choreographer Mariaa is a Bundjalung/ Yaegl woman from the Far North Coast of NSW. She currently resides on the land of the Dja Dja Wurrung. She is a graduate of NAISDA Dance College with a Diploma in Dance, a Graduate Diploma in Performance Creation, and a Master in Animateuring (by Research) through the Victorian College of the Arts and Music (VCAM).

Mariaa has been on the creative journey of Blood on the Dance Floor since 2014.

Each new observation, idea and direction within the work have ignited possibilities of what could be and have contributed to the expansion of her practice.

This learning resonates in her other works; HALF a solo work; Poetry in Motion created in collaboration with second-year dance students at VCAM (2015); Painting the Dance, a danced installation; and Divercity, which premiered at Dance Massive in 2017. Mariaa continues to teach, dance and make movement with others as an independent artist.

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ILBIJERRI Theatre Company // ARTIST BIOGRAPHIES JAMES HENRY

JENNY HECTOR

Sound Designer James is involved in many aspects of the music industry: from singer/songwriter to engineer to musical director. His diverse skill set has seen him perform as a guitarist on the Black Arm Band tour of the UK, and as a choir member and guitarist as part of Archie Roach’s Into the Bloodstream tour. His composition skills have attracted commissions from City of Melbourne to compose for experimental medias. James was also musical director of Tanderrum for the 2014 Melbourne Festival, and AFL’s Dreamtime at the ‘G performances. James has also worked with ILBIJERRI as sound designer for the 2017 touring production of Coranderrk.

Spatial Designer Recently Jenny designed lights for Shanghai MiMi (Sydney Festival), her design for Jodee Mundy’ Imagined Touch toured to Spill Festival and the Barbican Theatre UK and she designed the lights and set for the premier of Jo Lloyd’s Overture.

KELSEY HENDERSON Costume Designer Kelsey has a long and ever-growing list of skills and experience in the Melbourne theatre, dance and film scenes, having graduated from the Victorian College of the Arts with a Bachelor of Production in 2011.

With credits including Bad Jews (Costume Designer, Technical Operation–2015 and 2016 tours); Australia Day (Costume Designer–2015 and 2016 tours); Ballet and Beyond (Stage Manager–2015); and Comedy Festival Gala and Opening (Set Assistant, 2016) and more, Kelsey’s realworld design style and passion for working within the industry is pushing her to do more in the creative world.

Photo by Dorine Blaise.

She was the designer for Jodee Mundy’s Personal and the lighting designer for Sydney Chamber Opera’s Howling Girls, the 2018 Keir Choreographic Awards, co lighting designer for Night Mass, Dark Mofo and designed the Hub for 2017 Yirramboi- The First Nations Arts Festival. Other lighting credits and collaborations included Sam Halmarack and Joseph O’Farrell, Nat Cursio, Fraught Outfit, Guts Dance, Back to Back Theatre Company, Sandra Parker, Madeleine Flynn and Tim Humphrey, Chamber Made Opera and Rimini Protokoll.

Jenny Hector is the recipient of two Green Room awards and received the 2017 Green Room Award for Technical achievement.

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A CONVERSATION WITH DANCEHOUSE DESIGNER

KEITH HAMILTON

By Penny Williams, DanceHouse Volunteer CLOSE YOUR EYES. CONJURE UP AN IMAGE OF DANCEHOUSE. NOT A PERFORMANCE, BUT THE ORGANIZATION ITSELF. Of course. Red peak over red square.

Rippling lines, slightly a-kilter.

A stick-figure house. Dancing!

“The logo was the first challenge,” says Keith Hamilton, who has been the DanceHouse graphic designer right from the start, in 2008. “Jim [Smith, Artistic Director and DanceHouse cofounder] wanted something timeless and sophisticated. So did I. I didn’t want to over-intellectualize the design. I was after something right where timelessness and sophistication meet accessibility.”

He succeeded. We don’t have to be designers to get the logo. We see the geometric shapes embedded in the “A” and “O” of the company name, we see how they form a red house that pops out of a black and white context, and we get the message. The image speaks to all the ways this particular house fosters community — with dancers and dance creators, with dance supporters, with dance students, with the global world of dance.

“Everything else followed from the logo,” says Keith.

“The decisions about colours (black/white/red), font (based on Helvetica), all-caps for the company name… everything.” He remembers making the presentation, accompanied by Emma Lancaster, the communications specialist who had suggested him to DanceHouse in the first place.

“I owe so much to Jim. He looked at the presentation and said, ‘This is right. It works. We won’t need to keep changing it.’ His reaction has allowed us to build brand equity ever since, with a recognizable look and feel for all DanceHouse communications.”

This takes in a lot of product, many messages on many platforms — posters, brochures, post cards, digital and print advertisements, and “collateral elements,” i.e. further use of the image to support other initiatives.

Latest case in point: the discreet little lapel pin that you, or the person next to you at intermission, may be sporting — a token of thanks for significant support.

This long partnership means that Keith and DanceHouse achieve their objectives with very few meetings. “We discuss how to differentiate this season from the previous one,” says Keith, “but after that everything will have the over-arching DanceHouse look and feel. Once I set things in motion, I oversee the process.” He doesn’t, for example, design this program or the website, but both are firmly grounded in the overall DanceHouse look, and consistent with it.

DanceHouse seems a fitting client for a man who did a double-major at UBC in English Lit and Theatre before attending design school, working for several agencies and founding his own company, Rare Design, in 2004. Yet his client list demonstrates he is equally comfortable with commerce.

In addition to arts organizations, the list ranges from an executive search company to one that produces auto battery cells to others in tourism and the food industry.

What they have in common is Keith Hamilton’s branding philosophy. Branding comes down to people talking to people — people talking to the right other people, mind you, with the right language and images for the purpose. “If people respond to the message, I’m doing my job.”

DanceHouse. A little red house, dancing.

Community. We get the message.

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Program 2 Feb 28 Mar 1 2 Choreography Jorma Elo 1st Flash Adi Salant New Work Crystal Pite Solo Echo

Program 3 May 9 10 11 Choreography Sharon Eyal & Gai Behar Bedroom Folk Serge Bennathan New Work Ohad Naharin Minus 16

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platiNum seasoN spoNsor

CommuNity balCoNy spoNsor

hotel spoNsor

support for ballet bC has beeN geNerously provided by

media spoNsors daNCer NiCole Ward. photo miChael slobodiaN.

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BUILDING A VANCOUVER

MOMENT DANCEHOUSE, CRYSTAL PITE AND FRIENDS

By Kaija Pepper

T

he first work I saw by Crystal Pite was In a Time of Darkness, presented on an Alberta Ballet mixed bill in 1995. I grumbled at having to drive out to Richmond’s Gateway Theatre for the show, but, afterward, this serious and dark, yet also passionate and physically exciting work, sent me into an exhilarating spin. Pite — who was then a dancer with Ballet BC and in her early twenties — had made something with beauty and sincerity that also had aesthetic and intellectual bite, a rare combination that continues to make every experience of her work deeply meaningful.

Many Vancouverites will have their own story of discovery. It might be of Ballet BC in Pite’s 1996 domestic drama, Moving Day, on the eve of her departure to dance with William Forsythe’s famously edgy Frankfurt Ballet. Or it might be one of her commissions for companies who have toured here, such as the National Ballet of Canada, Les Ballets Jazz de Montréal and Cedar Lake Contemporary Ballet.

We have also had a whole Kidd Pivot repertoire to get to know since Pite formed her Vancouver-based company. Lost Action’s world premiere in 2006 at home, at the Vancouver East Cultural Centre, made it an extra-memorable occasion.

Premieres are always special. For critics, it’s a chance to write about a show before the rest of the pack weighs in; for audiences, there’s the excitement of being present for a new and uncharted experience. I mourn having missed the numerous European premieres of Pite’s freelance choreography.

But now Vancouver has Revisor, another Kidd Pivot premiere.

Several things had to come together for this high-profile opening — a collaboration with the Electric Company Theatre’s Jonathon Young — to happen here. Jim Smith, DanceHouse artistic and executive director, generously calls it “an offering by the cosmos,” but, in fact, it was greatly due to his dogged pursuit of bringing the best of the world’s dance to the Playhouse stage over the last decade. This meant two key pieces were well in place to receive that offering.

First, the right theatre was available. While the Playhouse is a little small (more seats would help the budget), for audience members it has the kind of intimacy that means every seat is a good one.

Backstage, it’s able to give the technical support (including a fly tower) needed by major interdisciplinary productions like Revisor.

“THE COUNTRY’S TRUTH AND RECONCILIATION MOVEMENT IS A SPECIAL MOMENT IN TIME” Also key was the right presenter — DanceHouse, the city’s upscale series founded 11 years ago by Smith and Barb Clausen, and, from the beginning, associated with the Playhouse.

“We knew the international dance world would be paying attention,” says Smith about the unveiling of Revisor. “That includes the press and critics, co-producers involved in the project and potential presenters of Crystal’s work.” With his typical

Revisor performers by Michael Slobodian.

behind-the-scenes ambition and style, he pulled together a platform to make the premiere “even more of an event.”

Reaching out to the Vancouver Dance Centre, Ballet BC and Belsher Arts Management, additional studio showings, full presentations and networking opportunities were organized intended to entice as many presenters as possible. Raising awareness of Vancouver in the international arts world has become, Smith admits, “a personal agenda.”

International showcases tend to be big-tent events. “They’re kind of like being in New York, where you constantly feel like you’re missing out on something.” Smith sees the industry moving toward more intimate gatherings, like the one built around Revisor, where “art market buyers and sellers can have more meaningful engagements with everybody.”

Aside from the Playhouse mainstage show, what is Smith looking forward to showing visitors?

“The country’s Truth and Reconciliation movement is a special moment in time,” he says. “Some of our guests may not have had the opportunity to experience that yet in a Canadian context, though other countries, such as Australia, are also struggling with the conversation over atrocities of the colonial past. And there is a strong emergence of Indigenous artistic voices in Vancouver.”

One Indigenous artist invited to showcase her work is Margaret Grenier of Dancers of Damelahamid. Grenier grew up in a small Gitxsan community on the Northwest Coast of British Columbia, where she learned the family tradition of songs and dances.

Mînowin, in which Grenier and her collaborators explore traditional forms in the context of new stories and high-tech visual elements, is an important piece of the West Coast artscape that Smith is eager to present to his international colleagues.

“I want to let them inside the context in which I operate,” he says.

“Here in Vancouver, it’s very different from everybody else’s.”

Kaija Pepper is the editor of Dance International magazine. Her writing has been published in many local, national and international publications.

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FEBRUARY 20–23, 2019 8pm

KIDD PIVOT (VANCOUVER) Vancouver Playhouse, Vancouver BC DURATION: 90 MINUTES. NO INTERMISSION

REVISOR World Premiere CREATED BY

Crystal Pite and Jonathon Young

Written by ............................................................................................................... Jonathon Young Choreographed and Directed by.................................................................................... Crystal Pite Original Music and Sound Design.........................Owen Belton, Alessandro Juliani, Meg Roe Set Design.................................................................................................................. Jay Gower Taylor Costume Design .............................................................................................................. Nancy Bryant Lighting Design..................................................................................................................... Tom Visser Voice Direction......................................................................................................................... Meg Roe Assistant to the Creators......................................................................................... Eric Beauchesne

PERFORMERS Doug Letheren, Rena Narumi, Matthew Peacock, David Raymond, Ella Rothschild, Cindy Salgado, Jermaine Spivey, Tiffany Tregarthen SWING Renée Sigouin VOICES Kathleen Barr, Ryan Beil, Alessandro Juliani, Nicola Lipman, Scott McNeil, Gerald Plunkett, Meg Roe, Amy Rutherford, Jonathon Young Technical Director............................................................................................................ Jeff Harrison Stage Manager.............................................................................................................. Isaac Robinson Show Control Design............................................................................................................. Eric Chad Lighting and Sound Technician............................................................................Lukas McCormick Wig and Wardrobe Coordinator......................................................................... Stevie Hale Jones Set and Prop Construction....................................................... Great Northern Way Scene Shop Cutter..................................................................................................................................Janet Dundas Costume Assistant.............................................................................................................Alaia Hamer Stitchers.....................................................................Megan Veaudry, Jen Reid, Christine Pampel Headpiece Sculptor.................................................................................................... Heidi Wilkinson Company Manager on Tour........................................................................................... Brent Belsher Executive Producer ............................................................................................................... Jim Smith Producer............................................................................................................................ Jason Dubois Associate Producer............................................................................................... Francesca Piscopo For full bios and photos of dancers, voice actors, and crew, please visit kiddpivot.org

PRODUCTION SPONSOR Anndraya Luui 16

DANCEHOUSE.CA

KIDD PIVOT Artistic Director / Crystal Pite Associate Artistic Director / Eric Beauchesne Writer-in-Residence / Jonathon Young Executive Director / Jim Smith Producer / Jason Dubois Associate Producer / Francesca Piscopo Communications and Marketing

Manager / Katherine Chan Accounts Manager / Ann Hepper Production Manager / Jeff Harrison Fundraising Associate / Brent Belsher Office Manager / Lo McEwan Administration Assistant / Kevin Locsin Media Relations / Murray Paterson Marketing Group Agents for Kidd Pivot / Eponymous (Canada); Menno Plukker Theatre Agent Inc. (except Canada) KIDD PIVOT BOARD OF DIRECTORS President / Guy Riecken Vice President / Barry McKinnon Treasurer / Ainslie Cyopik Secretary / Dory Dynna Directors / Fiona Hanington, Valerie Jerome, Derek Porter PRODUCING PARTNERS AND FUNDERS Co-produced by Sadler’s Wells (London, UK), Théâtre de la Ville/La Villette (Paris, France), Banff Centre for Arts and Creativity (Banff, Canada), University of North Carolina at Chapel Hill (North Carolina, US), Canadian Stage (Toronto, Canada), National Arts Centre (Ottawa, Canada), DanceHouse with support from Anndraya Luui (Vancouver, Canada), Dance Victoria (Victoria, Canada), Danse Danse (Montreal, Canada) and Seattle Theatre Group (Seattle, US).

This is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Program. With this $35M investment, the Council supports the creation and sharing of the arts in communities across Canada.

PMS: 2925

PMS: 3005

Developed with support from the National Arts Centre’s National Creation Fund.

Kidd Pivot benefits from the support of BNP Paribas Foundation for the development of its projects.

Kidd Pivot gratefully acknowledges the support of the Canada Council for the Arts, the Government of British Columbia, British Columbia Arts Council, City of Vancouver, and countless individual and business supporters.

Tiffany Tregarthen by ©Michael Slobodian.

Eponymous gratefully acknowledges the support of the Canada Council for the Arts.

Kidd Pivot would like to thank: John Murphy, Mark Chavez, Artemis Gordon, Arts Umbrella, The Shadbolt Centre for the Arts, UBC Theatre, Michael Slobodian, Malcolm Dow and the generous financial contributions from the Friends of Kidd Pivot.

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// FROM THE CREATORS WE BEGAN WITH AN OLD, WELL-KNOWN STORY ABOUT MISTAKEN IDENTITY. The story is based on an anecdote that surfaced in Russia in 1833, and quickly spread. It is now widely accepted as probably true.

In 1836, the story took shape in a five-act play.

The play premiered in St. Petersburg before the Czar, who according to reports, laughed and applauded, and is said to have remarked “Everybody gets it, and I most of all!”

The play was in disguise as a comedy.

Underneath the superficial subject of mistaken identity there were, of course, deeper subjects such as deceit, tyranny, greed and corruption. Willful blindness and complicity. Bureaucracy and officialdom. Human suffering. The coming storm. The promise of change. Imminent overthrow. Salvation on the horizon. Retribution just around the corner. Justice at the gate.

There is evidence from the critical response that its arrival on stage was unwelcome; it was said to be unoriginal, improbable, coarse and vulgar. It turned on a stale anecdote everyone knew, it was a rank farce and the characters were mere caricatures. It didn’t matter: the rank farce about mistaken identity quickly took its place as a national institution.

“The play was in disguise as a comedy.”

Reports indicate that the Playwright of the rank farce raged against the “unctuous, cloying, farcical style” of the original production — a style that nonetheless became convention for decades. The Playwright insisted that he had been misread, and that his text contained an urgent moral indictment, a religious allegory, and a portrait of the universal soul in exile.

(Incidentally, the play is called The Inspector General, or, in the original Russian, Revizor, and the playwright is Nikolai Gogol.

Gogol repeatedly tried to revise Revizor to prevent further abuses of his underlying intentions, all in vain.)

Since the 1830’s, the play has been translated and adapted countless times. We approached the original text as a matrix for both voice and body, and found it to be malleable and resonant. Our quest has been to locate and portray a glimpse of the soul within this most unlikely frame: a well-worn farce about corruption and deceit.

We would like to thank all of our performers and collaborators for their essential contributions to the making of Revisor. They are the lifeblood of our creation; each of them masterful, generous, and truly inspiring. We are deeply grateful.

– Jonathon and Crystal

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// ABOUT THE COMPANY KIDD PIVOT Integrating movement, original music, text, and rich visual design, Kidd Pivot’s performance work is assembled with recklessness and rigour, balancing sharp exactitude with irreverence and risk. Under the direction of internationally renowned Canadian choreographer Crystal Pite, the company’s distinct choreographic language — a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation — is marked by a strong theatrical sensibility and a keen sense of wit and invention.

Kidd Pivot tours extensively around the world with productions such as Betroffenheit (2015), The Tempest Replica (2011), The You Show (2010), Dark Matters (2009), and Lost Action (2006).

// ARTIST BIOGRAPHIES CRYSTAL PITE Co-creator, Choreographer, Director Crystal Pite is a former company member of Ballet British Columbia and William Forsythe’s Ballett Frankfurt. She has created over 50 works for companies including The Paris Opera Ballet, The Royal Ballet, Nederlands Dans Theater I, Ballett Frankfurt, The National Ballet of Canada, and Ballet British Columbia.

The recipient of numerous awards for artistic excellence, including three Olivier Awards and, most recently, the 2018 Grand Prix de la danse de Montréal, Pite is an Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist at Sadler’s Wells, London. She holds an honorary Doctorate of Fine Arts from Simon Fraser University. In 2002, she formed Kidd Pivot in Vancouver.

Photo by ©Michael Slobodian.

JONATHON YOUNG Co-creator, Writer Canadian theatre maker Jonathon Young is Playwright-in-Residence at Kidd Pivot and a co-founder of Electric Company Theatre, where he has created and performed in over 20 original productions: Tear the Curtain! (Arts Club Theatre, Canadian Stage), No Exit (American Conservatory Theatre), Betroffenheit (international tour). He has worked across Canada as a freelance actor on multiple projects: All But Gone (Necessary Angel, Toronto) The Waiting Room (Arts Club Theatre, Vancouver), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver), and wrote text for Crystal Pite on two productions for Nederlands Dans Theater (Parade and The Statement).

Jonathon is the recipient of an Olivier Award, the UK National Dance Award and several Jessie Richardson Awards for writing and performance.

ERIC BEAUCHESNE Associate Artistic Director Born in Québec, Eric has danced with Les Grands Ballets Canadiens, Les Ballets Jazz de Montréal, and with contemporary dance icons such as La Fondation JeanPierre Perrault, Paul-André Fortier and Louise Lecavalier. Company member since 2004, Eric stages Pite’s work worldwide and serves as guest teacher. He currently resides in Holland and devotes his spare time advocating for climate action.

OWEN BELTON Composer, Sound Designer Owen graduated with a degree in Fine and Performing Arts and studied acoustic and computer music composition. Since 1994, he has created scores for dance companies including Kidd Pivot, The National Ballet of Canada, Nederlands Dans Theater, Ballet Jorgen, Cullberg Ballet in Stockholm, Ballet Nuremberg, Oregon Ballet Theatre and 420 People in Prague.

NANCY BRYANT Costume Designer Nancy Bryant’s home is in Vancouver, BC. Nancy has designed for dance, theatre, opera and film since the late 1980’s. Her design work has taken her across Canada, the USA, Europe and the UK. Collaborations with Crystal Pite and the design team include works for The Netherlands Dance Theatre, The Paris Opera Ballet, The Royal Ballet London and for Kidd Pivot.

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Kidd Pivot // ARTIST BIOGRAPHIES ALESSANDRO JULIANI AND MEG ROE Composers, Sound Designers Alessandro and Meg are Canadian multidisciplinary artists whose works have been seen and heard across Canada and internationally in conjunction with: The Shaw Festival, Stratford Festival, Canadian Stage, Crow’s Theatre, Factory Theatre, Centaur Theatre, Bard on the Beach, Electric Company Theatre, Blackbird Theatre, Arts Club, The Vancouver Playhouse, Pi Theatre, Rumble Theatre, The National Arts Centre, Theatre Calgary, Alberta Theatre Projects, Theatre Junction, Citadel Theatre, Belfry, Intrepid Theatre, Theatre SKAM, Theatre Aquarius, Manitoba Theatre Centre, Western Canada Theatre, Orlando Shakespeare Festival, American Conservatory Theatre (San Francisco), Center Theater Group (LA), and the Britten/Pears Festival (UK).

DOUG LETHEREN Performer Doug is from New Hampshire USA and a graduate of The Juilliard School. He

has worked with the Batsheva Dance Company, Sharon Eyal’s L-E-V, the GöteborgsOperans Danskompani, Aszure Barton, Adam Linder, Alan Lucien Øyen and is currently a member of the Tanztheater Wuppertal Pina Bausch. Doug is a recipient of the 2007 Movado Future Legends Award.

RENA NARUMI Performer Rena was born in Tokyo, Japan. She has performed with ProArteDanza, Kidd Pivot, Hessischen Staatstheaters Wiesbaden, Royal Swedish Ballet (RSB), Nederlands Dans Theater 1 (NDT1).

With RSB, she performed the main role of Juliet in Juliet and Romeo by Mats Ek. With NDT1, she traveled all over the world to perform.

MATTHEW PEACOCK Performer Matthew was born in Seoul, Korea and raised in New York. Matthew has performed with artists such as Ariana Grande, Madonna, The 1975, Selena

Photo by Miles Clark

Dancer Sève Mc-Mullin

Gomez, and with Cirque Du Soleils, Odyssey Dance Theatre and Chu.This.

Matthew is a creative director and choreographer working on projects for Billie Eilish, Jared Leto, Cardi B, One Republic, Demi Lovato and Børns.

DAVID RAYMOND Performer Born and raised in Penticton, BC, David co-founded Out Innerspace Dance Theatre and Modus Operandi, a platform to develop and share practice with young artists. David has performed with Company 605, Wen Wei Dance, Response Dance, Dana Gingras, Simone Orlando, Beijing Modern Dance, Vancouver Opera, and Move: The Company.

ELLA ROTHSCHILD Performer Born in Israel, Ella has been dancing with Inbal Pinto and Avshalom Pollak Dance Company and Batsheva Dance Company.

Since 2010, Ella has been creating works in collaboration with artists from various disciplines. In 2016, she received the

FEBRUARY 24TH, 2019 2pm Silent auction 3pm Show time BlueShore Financial Centre for the Performing Arts at 2055 Purcell Way, North Vancouver, Capilano University

Tickets at LAMONDANCE.COM

Photo by Miles Clark

Dancer Sève Mc-Mullin

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DANCEHOUSE.CA

A night to celebrate Vancouver’s extraordinary dance community.

Kidd Pivot // ARTIST BIOGRAPHIES Rosenblum Performing Arts Award by the city of Tel-Aviv for promising creator and the Ministry cultural award.

CINDY SALGADO Performer Since graduating from the Juilliard School with the Princess Grace Award in 2005, Cindy has performed with Aszure Barton and Artists, ChuThis, and on various projects for Mia Michaels and Andy Blankenbuehler. Cindy is a faculty member for New York City Dance Alliance and the co-founder of Artists Striving To End Poverty (ASTEP).

RENÉE SIGOUIN Performer Renée was born in Saskatchewan and moved to Vancouver in 2008. Since graduating from the Modus Operandi program in 2012, she has performed with Out Innerspace Dance Theatre, Company 605, Wen Wei Dance, Mascall Dance, Kinesis Dance Somatheatro, EDAM, Constance Cooke and Emmalena Fredriksson.

T H E

R O S E D A L E

O N

JERMAINE SPIVEY

TIFFANY TREGARTHEN

Performer Kidd Pivot member since 2008, Jermaine is a graduate of Baltimore School for the Arts and The Juilliard School. Jermaine has performed with Ballet Gulbenkian, Cullberg Ballet, American Repertory Theater, Robyn Live 2016 and The Forsythe Company. Jermaine instructs dance internationally, choreographs, creates and performs interdisciplinary works with partner Spenser Theberge.

Performer Born in Prince George, BC, Tiffany’s career began in New York, Seoul and Antwerp before co-founding Out Innerspace Dance Theatre and post-secondary programme Modus Operandi in Vancouver. She has danced with Radix Theatre, Beijing Modern Dance Company, Vancouver Opera, Company 605, Wen Wei Dance, and Justine Chambers among others.

JAY GOWER TAYLOR

Lighting Designer Tom Visser grew up in the countryside of west Ireland. At the age of 18 he started working in music theatre through his theatrical family and in dance through the Nederlands Dans Theater. Since 2005 he has created original designs for choreographers including Crystal Pite, Alexander Ekman, Johan Inger, Stijn Celis, Lukas Timulak, Sharon Eyal, Hofesh Shechter, and more.

Set Designer For the last decade, Jay has created onstage environments in collaboration with Crystal Pite for Nederlands Dans Theater, the National Ballet of Canada, Sadler’s Wells, and the last three major works of Kidd Pivot, including Betroffenheit. Recently, Jay designed The Seasons’ Canon for The Paris Opera Ballet and Flight Pattern for The Royal Ballet, London.

R O B S O N

S U I T E

TOM VISSER

H O T E L

Explore and enjoy our vibrant city.

The best of Vancouver is at your doorstep.

The Rosedale on Robson Suite Hotel provides comfort and convenience in the heart of the sports and entertainment district of downtown Vancouver.

Proud Hotel Sponsor of DanceHouse 838 Hamilton Street @ Robson • Vancouver • BC • Canada • V6B 6A2 Local: 604 689 8033 • Toll Free: 1 800 661 8870 • www.rosedaleonrobson.com

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JOIN THE COMMUNITY We’re exceptionally proud to welcome you to the theatre this February as we share two world-class works and celebrate the world premiere of Kidd Pivot’s Revisor.

It has been almost 13 years since Kidd Pivot premiered a new work at home, and we’re honoured to be able to create a space in the community to make that happen.

Of course, we didn’t make it happen. You made it happen.

As a presenter and co-producer of Kidd Pivot’s Revisor, DanceHouse made a financial contribution, alongside nine other co-producers, to support the lengthy and intensive process of creating a new work, as well as a fee to present the work in Vancouver. Without donor support, DanceHouse would not have been able to do any of this.

Revenue from ticket sales make up only about one third of the resources needed to present world-class work like Revisor. This is where DanceHouse’s community of donors comes in, without whom, DanceHouse would not be able to support and engage such exceptional companies from Vancouver, Canada, and around the world .

If you feel moved or inspired by what you see on stage this evening, please consider joining the DanceHouse donor community tonight. Every gift, no matter the size, ensures that DanceHouse will continue making space in the Vancouver landscape for extraordinary, world-class dance.

Donations can be made following tonight’s performance in the theatre lobby with a DanceHouse staff member or volunteer, over the phone at 604.801.6225, or online at dancehouse.ca/donate.

Photo: MOMIX

Or contact team members Jason Dubois at jason@dancehouse.ca or Charlotte Newman at charlotte@dancehouse.ca to further discuss the giving opportunity that might be right for you.

FEB 21 — 23 8PM

COMPANY 605

LOOP, LULL SHADBOLTCENTRE.COM | 604-205-3000 | BOXOFFICE@BURNABY.CA |

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MEET THE DONORS IN CONVERSATION WITH DANCEHOUSE SUPPORTERS

ANNDRAYA LUUI It’s no wonder the love of arts comes naturally to Anndraya Luui. As a second cousin to prominent Canadian arts impresario and producer David Y. H. Lui, Anndraya was introduced to dance, theatre and concerts early on.

“When David was doing his thing back in the 1970’s, he offered his mother a few guest tickets to every performance, and she would often invite my mother and me.

Growing up, it was normal to go to the theatre and see these interesting, abstract, weird things on stage.”

LINDA LOO & STEPHEN RICHARDS “We support the arts because without art you don’t have much of a civilization,” says Madam Justice Linda Loo, of the B.C. Supreme Court. That conviction, she adds, first took root in childhood. “My sister and I were fortunate to have parents who bought us tickets for every dance and theatre performance that used to come to the City of Vancouver.”

Her sister grew up to have a career as a professional modern dancer and instructor, while Loo and husband Stephen Richards, a self-employed corporate lawyer, have now been major arts donors for more than a quarter-century.

Today, as a subscriber, founding donor, and board member of DanceHouse and The Dance Centre, Anndraya continues to hold a vision of building audiences who simply like to see performances. “I got to see a lot of performing arts in my youth. When you grow up with these activities, you assume that everyone is doing this, but then you realize that no one is doing this. The idea of going to a concert or the theatre is unusual for people if they never did it.”

The DanceHouse connection, she says, just like their broader love of the arts, is also the result of family encouragement.

“We first heard about the organization from my father’s cousin, who is very involved with dance and theatre.” In 2013, Loo purchased DH season tickets for her sister and herself. “One day she was out of town, and I brought my husband instead. He loved it — so now we have season tickets for all three of us.”

That awareness has Anndraya watching how others respond to a performance. “I frequently think about how to attract new audiences. I listen to audiences during shows and if the performance music is familiar, or it’s something that’s humorous and fun, the audiences get on board with it, but if it’s more abstract and repetitive, they’re polite but not necessarily engaged.”

All this background plays into their reasons for now being DH annual donors, as well as season subscribers. Their passion for dance is matched by their knowledge of its behind-the-scenes realities — for dancers, both financially and physically, and for dance institutions.

“Certain notable contemporary choreographers like Crystal Pite (Kidd Pivot) have a large following because of her storytelling in works like Betroffenheit or The Tempest Replica which draws from Shakespeare. Those works are very visual and have a particular narrative attached to them so they’re easier to understand and connect with.”

Building a solid arts community and attracting new audiences takes time. Anndraya applauds such initiatives as the Dance Centre’s noon hour series, which attracts seniors and students, and DanceHouse’s diverse range of performances. Her own personal initiative is to offer DanceHouse tickets to Kids Up Front, a program with a mission to inspire children-in-need through the power of performance. “I try to pick shows that are accessible yet challenging”, such as the dynamic tap dance company, Dorrance Dance, that was part of DanceHouse’s 2017/2018 season.

Much like David Y. H. Lui who introduced Vancouver audiences to exciting contemporary work, Anndraya Luui actively supports DanceHouse in bringing artists to Vancouver from all over the world.

Written by DanceHouse Volunteer Sally Halliday with Anndraya Luui.

Loo sums it up. “Here’s the long and the short of it: We support dance in general because we love it, and because it is always underfunded and generally operates on shoestring budgets. We support DanceHouse in particular because we think it is doing a wonderful job.”

Written by DanceHouse Volunteer Penny Williams.

We support dance in general because we love it, and because it is always underfunded and generally operates on shoestring budgets.

We support DanceHouse in particular because we think it is doing a wonderful job.”

–LINDA LOO & STEPHEN RICHARDS

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Speaking of Dance Conversations Series 2018/19 Art Criticism in the Digital Age

FR EE

Tuesday, 27 November 2018, 6pm Moderated by Crystal Pite, Artistic Director, Kidd Pivot

Post-identity Utopia

Tuesday, 5 February 2019, 6pm Moderated by Harlan Pruden, First Nations Cree Scholar and Community Organizer

Nudity: The Objectifying Gaze in the Arts Tuesday, 5 March 2019, 6pm Moderated by Dorothy Woodend, Culture Critic, The Tyee

All Conversations take place at the Djavad Mowafaghian Community Engagement Partner Co-presented by DanceHouse and SFU Woodward’s Cultural Programs, World Art Centre, SFU Goldcorp Centre for the Arts.

Speaking of Dance Conversations is a series of free public dialogues and roundtable dancehouse.ca/speaking-of-dance/ conversations about the world of dance, contextualizing it within culture and society.

Presented by noted writers, choreographers and creative thinkers, Speaking of Dance is a platform for everyone to share and develop their observation and interpretation of dance.

COMING UP NEXT THE OBJECTIFYING GAZE IN THE ARTS Tuesday, March 5, 2019; 6pm FREE Moderated by Dorothy Woodend, Culture Editor – The Tyee, with guests TBA. Djavad Mowafaghian World Art Centre, SFU Woodward’s – Goldcorp Centre for the Arts, 149 W. Hastings COMMUNITY ENGAGEMENT PARTNER

And don’t forget to join DanceHouse at...

MASTERCLASSES DanceHouse engages each visiting company in a series of masterclasses, offering pre-professional and professional dancers access to dance with international artists right here in Vancouver.

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SPEAKING OF DANCE PRE-SHOW TALKS Listen in to a conversation with the visiting artists before or after select performances.

This is an excellent opportunity to gain insight into the presentation you are about to experience.

POST-SHOW SOCIALS Following select performances, join us for the Post-show Social. This is your chance to meet and chat with the artists and members of the company who performed, and also get to know members of the DanceHouse team and board of directors. Everyone is welcome.

We look forward to seeing you at the theatre and beyond!

Visit dancehouse.ca for more information about all upcoming events.

THANK YOU DONORS

Donor List reflects donations received through January, 7 2019.

IN THE HOUSE Diamond Room $10000+

Bronze Room $1000–$2499

Anndraya T. Luui X Deux Mille Foundation Hawthorne Foundation

Mary & Herbert Auerbach X Vish Anand & Ben Leavitt Peter Dickinson & Richard Cavell X ∙ Jason Dubois & Clayton Baraniuk Lightburn Family Fund, Held At Vancouver Foundation Linda Loo & Stephen Richards Jack Lutsky & Susan Mendelson ∙ The McGrane-Pearson Endowment Fund (At Vancouver Foundation) X Jean Orr X

Gold Room $5000–$9999 Anonymous

Silver Room $2500–$4999 Catherine & Ian Aikenhead David Cousins Robert Laing & Edward Wilson X

∙

David & Sue Roppel Sabine Rouques ∙ Brian Rowland & Steve Atkinson X Jim Smith X ∞ Dr. Larry Stonesifer & Mr. Ronald Angress Nathan Ryan Todd

NEIGHBORHOOD OF FRIENDS House $500–$999 Susan Adams Santa Aloi Ilze Bebris & Bruce Curry X Gary Bell Chung Cheong Laurie Guy-Sharp Liesl Jauk X ∙ Teresa Kirschner Anne Mauch Laura Moore Barra O’Briain Paula Palyga & David Demers ∙ Donna Welstein & Bill Ehrcke Max Wyman Anonymous

Condo $250–$499

Carol & Julia Carr Sheila Craigie & Jane Turner Richard Dopson ∞ Janet Erickson X ∙ Jane Fernyhough X ∙ Melanie Ferrandi ∙ Doug Fortney & Gaby Bleckmann Heather Fraser Sara Getz Conor D. Graham Cat Grant Evelyn J. Harden Gisa Cole Laslo Reid & Brittany MacDonald ∙ Caroline Manders ∙ JoAn & Michel Maurer Heather McPherson & Arnoud Stryd Paula Meyler Fraser Norrie & David Clarke Lorraine Portier

Nancy Stern & Stephen Schachter Straits Fishing Ltd Dr. Jean Warburton Fei Wong

Apartment $100–$249

Ingrid Alderson Gina & Kevin Alpen ∙ Alexandra Barker Janice Beley ∙ Nora Blanck & Tim Rose ∙ Fran Brafman X Alison Brousson Rita Buchwitz Ann Cowan Buitenhuis Joanne Chan ∙ Deena Chochinov & Eric Posen Leanne & Brian Cuddington Chris M. Dafoe ∙ Rosemarie Daviduk Louise DeGagné & Kathleen Piovesan ∙ Peter Dodek & Hella Lee ∙ Dory Dynna Sharleen Dumont Sally Felkai Eric Fiss X ∙ Nina Fitzwilson ∙ Karen Gelmon Leila Getz Ron Gibbs Miriam Gil ∙ Jo-Ann G. Gordon ∙ Paul Gravett & Mark Hand Julie Hamilton Mary Hartman Daphne Harwood ∙ Henry Hawthorn

Victoria Henderson & John Radosevic Denis Howarth Meg Ida ∙ Valerie Jerome Laurie J. Jones Lynn Kagan Lynn Katey Roger Kayo & Rachel Yang ∙ Teresa Kirschner Katharine Knowles Annamarie Koett ∙ Jacquie Leggatt Erica Levy & Alan Kingstone Giorgio Magnanensi Jan Manson ∙ Laurel March Robyn Marsh ∙ Marlise McCormick Dario Meli Emily Molnar Roberta Niemann Emily O’Neill ∙ Corey Ouellet X ∙ Cheryl Prophet Larry Raskin Vanessa Richards ∙ Heidi & Paul Riggs ∙ Talia Rosales ∙ Betty Scheltgen Bernard Schulz Sharon Simpson Lori Strong ∙ Alexa Thornton Pat Tipping Vela Academy of Movement Cornilus Verburg Ann & Marshall Webb

Penny Williams ∙ Marnie Wilson Elizabeth & Chris Wootten Desiree Zurowski ∙ Anonymous x3

Guest Room up to $99

Tiffany Antoniuk Ivy Arcos Louis Conway Doug Durand Kurt Eiserman Eileen Fogarty-Elis Susan Gagne Denise Gilbert Debra Gilman Jordan Gruzelier Victoria Ann Zamoyska Henderson Nancy Herring Damarise Ste Marie Eric Mason Aoife Mac Namara Jenna Newman Jen Oleksiuk T. Popoff Eva Prior Joanne Rankin & James Burton Donald Straathof Janet Venn Janet Waterman Anonymous x5

DanceHouse gratefully acknowledges the support from our generous donors. Contact Charlotte Newman at charlotte@dancehouse.ca or 604.801.6225 to join our community of supporters.

3-YEAR PLEDGE

∙ MONTHLY DONORS

∞ LEGACY DONORS

X 10+ YEARS

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Support

DanceHouse Personnel

Season Partners

BOARD OF DIRECTORS

Publishing Sponsor ®

Community Partners SFU Woodward’s Cultural Programs 149 Arts Society Arts Umbrella SFU School for the Contemporary Arts Lamondance Training and Performing Company Harbour Dance Centre Training Society of Vancouver Positive Living BC Kettle Society

Community Engagement Partner

Partners Cappelleria Bertacchi Flower Factory Rare Design

Media Relations Company

Brian Rowland, President Bryan Pike, Past President Anndraya Luui, Vice President Liesl Jauk, Secretary Dr Vishal Anand, Director Ivy Arcos, Director Alexandra Barker, Director Rita Buchwitz, Director Sara Getz, Director Conor Graham, Director Dr Paula Meyer, Director Christopher Stott, Director

STAFF Jim Smith, Cofounder, Artistic and Executive Director Jason Dubois, Director of Patron Relations Mark Eugster, Technical Director Galia Goodwin, Events Coordinator Debora Gordon, Editor: Friday Round-Up Sara Gosh, Media Contact, Murray Paterson Marketing Group Ann Hepper, Finance Coordinator Kevin Locsin, Patron Services Associate Heather McDermid, Web Administrator Lo McEwan, Patron Services Coordinator Charlotte Newman, Development & Communications Coordinator Francesca Piscopo, Community Engagement Coordinator

VOLUNTEERS Government

DanceHouse wouldn’t be where it is today without the generous support of our passionate community of volunteers. Thank you for all that you do for DanceHouse!

LEGACY GIVING AT DANCEHOUSE What will your legacy be? By making DanceHouse a beneficiary of a planned gift, you are ensuring a legacy in dance in Vancouver which benefits local, national, and international choreographers and performers, and audience members from all walks of life.

From more information about making a legacy gift, please contact Jason Dubois, Director of Patron Relations at 604.801.6225 or jason@dancehouse.ca.

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PRESENTS

COMPAGNIE MARIE CHOUINARD (MONTREAL ) HIERONYMOUS BOSCH: THE GARDEN OF EARTHLY DELIGHTS “BEAUTIFULLY UNSETTLING.” THE GLOBE AND MAIL

MARCH 15 & 16 VANCOUVER PLAYHOUSE Photo by Sylvie-Ann Paré

MOMIX (US) VIVA MOMIX “...BEGUILING, EYE-FILLING....

IMPRESSIVE VISUAL AND MOVEMENT THEATRICS.” THE WALL STREET JOURNAL

APRIL 13 & 14 VANCOUVER PLAYHOUSE Photo by Eddy Fernandez

TICKETS & INFO DANCEHOUSE.CA

DanceHouse’s 2019-20 Season will be announced in the next program!

Keep an eye on this space...

NATIONAL CREATION FUND Paving the way for a new model of creation in Canada’s performing arts.

By supporting productions like Revisor, the Fund is proud to develop the ambitions of Canadian creators.

The National Creation Fund is fuelled by funds raised from generous donors to the National Arts Centre Foundation’s Creation Campaign, who believe in investing in Canadian creators.

nac-cna.ca/creationfund

The National Arts Centre’s National Creation Fund invests in the opportunities that risk and innovation demand.