St. Lawrence Centre for the Arts
Bluma Appel Theatre
Ballet BC
Artistic director Medhi Walerski
March 28 - 29, 2025
Pieces of Tomorrow choreography by Medhi Walerski
PASSINGchoreography by Johan Inger
Lead partners
Photo credit: Marcus Eriksson
TO Live would like to acknowledge Tkaronto (TKahr-on-dOnH), which is a Mohawk word meaning “the place in the water where the trees are standing.”
We live and work on the traditional territory of Haudenosaunee (HODE-en-ohshow-nee)-speaking nations, including the Wendat, Seneca, and Mohawk. Haudenosaunee-speaking nations have been here since time immemorial, and were more recently joined by the Mississaugas of the Credit.
This place has many Indigenous ports, including where the Humber and Rouge rivers meet other waterways such as Lake Ontario. Ancient longhouses, typical Haudenosaunee housing structures, have been found along both rivers and in the north of Toronto as well (near modern-day York University). This territory is covered by the Dish with One Spoon Wampum Belt Covenant, an agreement between the Haudenosaunee (Six Nations) Confederacy and the Anishinaabe (Ojibwe) and allied nations to peaceably share and care for the lands and the relationships around the Great Lakes.
What this means is that by living and working here, we all have a responsibility to the environment and to each other, to treat each other and the environment with peace and respect. This means we have responsibilities to honour, renew, and consistently uphold the values and relationships outlined in the ancient agreements.
Today, Toronto is home to Indigenous peoples and settlers from around the world. Let us all come together in an atmosphere of respect and peace to do Good Work together with Good Minds. Let’s start building stronger and healthier relationships with each other, and the spaces which we inhabit in Tkaronto, Ontari:io (on-dahr-EE-yo), Kanata (Gan-AH-dah).
Let’s hold our minds together in kindness.
Nia:wen. Thank you.
©Dawn T Maracle
Welcome letter from TO Live
Welcome,
TO Live is excited to showcase the power of dance as a vital force for connection, healing, and inspiration.
This year, we proudly shine a spotlight on Canadian choreographers and companies, including the internationally acclaimed Ballet BC. By championing homegrown talent, we ensure these exceptional artists feel the full support of their nation as they push creative boundaries—in our city, across Canada, and around the world.
At the same time, we remain deeply committed to our local artistic community. Through TO Live initiatives like Making Space and explorations, we provide vital resources to create, experiment, and grow in a nurturing environment. Making Space offers Toronto’s artistic community affordable spaces for rehearsals, creative residencies, workshops, meetings, and research, while explorations is an annual grant program awarding $7,000 each to Toronto-based artists to explore new directions in their practice. These programs fill crucial gaps in our sector, fostering a robust and sustainable ecosystem where creativity and innovation at all levels—from new voices to established leaders—can thrive.
TO Live’s goal is not simply to follow established paths, but to break new ground—identifying areas that need our support and investing in the programs and resources that truly uplift our artistic community. We are dedicated to offering fresh, thought-provoking, and uniquely enriching experiences.
We are thrilled to welcome back Ballet BC, one of the world’s leading dance companies. Known for their artistic excellence, it has been several years since we last had the privilege of hosting them in Toronto. We are honoured to share their breathtaking work with you once again.
Thank you for being part of this journey with us. We look forward to sharing these extraordinary performances and continuing to build a diverse, vibrant, and engaged dance audience in Toronto.
Clyde Wagner President & CEO TO Live
About Ballet BC
Founded in 1986 by David Y.H. Lui, Jean Orr, and Sheila Begg, Ballet BC is Canada’s leading contemporary dance company. Based in Vancouver and led by artistic director Medhi Walerski, the company performs at venues throughout British Columbia and on the world’s best stages.
Ballet BC dancers are a group of open-minded and curious artists, each unique for their exceptional artistry while sharing an intuitive passion for movement. Deeply committed to new creation in addition to presenting masterworks from today’s most sought-after voices in dance, Ballet BC’s diverse repertoire includes works by choreographers such as Crystal Pite, Johan Inger, Sharon Eyal and Gai Behar, Medhi Walerski, Out Innerspace, Imre and Marne van Opstal, Roy Assaf, Micaela Taylor, Zachary Seto, and more. The company offers a variety of professional development and educational opportunities in the community, aiming to bring the power of dance to the widest audience possible.
More info: balletbc.com.
Photo credit: Michael Slobodian
Program
Pieces of Tomorrow | Medhi Walerski | 25 minutes
The creation of Pieces of Tomorrow began with the concept of legacy. Drawing inspiration from Lyle XOX’s sculptures made from found materials, the dancers and I aimed to create the choreography by exploring themes of destruction, creation, and reconstruction. Just as Lyle transforms materials, we focused on repurposing movement elements to breathe new life into them. Johan Ullen’s recomposed violin sonatas from Bach deepened our exploration with a profound layer. The recycling of musical material echoed our approach, enriching our work with a sense of continuity and growth. Loss, transformation, and rebirth. The cyclical nature of artistic expression, and life.
Intermission | 20 minutes
PASSING | Johan Inger | 50 minutes
Human beings. In the unstoppable flow of life and multiple variations of connections, Inger seeks the sensitive, vulnerable, and intimate moments that make every individual trajectory unique. The work dissolves itself in anonymities as the group emerges: individual behaviours influenced by the concrete or the imagined presence of the others; dynamics and potentials floating between the self, the others, us, or them. Where will this unconscious fast-paced and selfcreated environment, relentlessly overruled by an intangible source and force, lead our communities to?
Photo credit: Michael Slobodian
Credits and creative team
Pieces of Tomorrow
World premiere, May 2024, Ballet BC
Choreography
Medhi Walerski
Music
Violin Concerto in A minor BWV 1041 II
Andante
Violin Concerto in D minor BWV 1052R I
Allegro
Violin Concerto in E major BWV 1042 II
Adagio
Violin Concerto in D minor BWV 1052R
Adagio
“ Infinite Bach” by Johan Ullén
Performed by Christian Svarfvar (violin) and the London Philharmonic Orchestra
By arrangement with Boosey and Hawkes, Inc., rights owner in the US and Canada for Gehrmans Musikforlag AB
Additional music by Adrien Cronet
Lighting design
Lisette van der Linden and Pierre Pontvianne
Lighting director
Lisette van der Linden
Costume design
Medhi Walerski
Artistic collaborator
Lyle XOX
Assistant to the lighting designer
Matthew Piton
PASSING
World premiere, May 2024, Ballet BC
Choreography
Johan Inger
Choreographic assistants
Yvan Dubreuil, Carolina Armenta, Fernando
Hernando Magadan
Music
“The Joy of D. H. Lawrence”
Composed and performed by Erik Enocksson
Used with permission / courtesy of Söndregård Ton “Westward, Ho!”
“Barn Dance” “Bumbo”
Written and performed by Louis T. Hardin.
Published by and courtesy of Songs of Virtual o/b/o Managarm
Musikverlag
“Harsh and Stubborn that River Bends”
Composed and performed by Erik Enocksson
Used with permission / courtesy of Söndregård Ton
“Theme - Instrumental”
Written and performed by Louis T. Hardin.
Published by and courtesy of Songs of Virtual o/b/o Managarm
Musikverlag
Composition
Amos Ben-Tal
Lighting design
Alan Brodie
Costume design
Linda Chow
Stage design
Johan Inger
Photo credit: Ian Jackson
Biographies
Medhi Walerski: Choreographer, Pieces of Tomorrow
Medhi Walerski was appointed artistic director of Ballet BC in July 2020. His leadership tenure has been highlighted by an artistcentred approach and deep commitment to creation and innovation, an expanded global touring program, increased dancer compensation and equity, a world-renowned brand identity, and unprecedented audience growth.
Raised in France, Walerski initially trained in Normandy with Laurie Bokobza and Christine Caroly before joining the Conservatoire Superieur de Musique et de Danse de Paris. He danced at the Paris Opera Ballet and the Ballet du Rhin before joining the Nederlands Dans Theater in 2001. Walerski’s choreographic debut was in 2008 for NDT 2. Since then, he has created many acclaimed works for NDT, Ballet BC, Bern Ballet, Goteborg Ballet, the Ballet State of Georgia, StaatBallet Hannover, Staattheater Wiesbaden, and Charlotte Ballet.
As an educator, he is regularly invited to lecture and give workshops at dance conservatories, intensives, and festivals around the world.
Johan Inger: Choreographer, PASSING
Johan Inger (Stockholm, 1967) completed his dance training at the Royal Swedish Ballet School and at the National Ballet School in Canada. From 1985 to 1990 he danced with the Swedish Royal Ballet in Stockholm, the last year performing as a soloist. In 1990, he joined NDT 1 and was a high-profile dancer in the company until 2002. After four workshop pieces, Inger produced his first creation in 1995 for NDT 2. The resulting Mellantid marked his official debut as a choreographer.
Since his debut, Inger has made various works for Nederlands Dans Theater. For his ballets Dream Play and Walking Mad, he received the Lucas Hoving Production Award in October 2001.
Inger left Nederlands Dans Theater to take on the artistic leadership of Cullberg Ballet in Stockholm in 2003. Between 2009 and 2016, Johan Inger held the position as associate choreographer with Nederlands Dans Theater, creating for both companies (NDT 1 and NDT 2) regularly, while continuing to collaborate and create with other companies.
Beginning in the 2022/23 season, Johan Inger became the artistic director of Take Off Dance, a training program for pre-professional dancers between the ages of 18 and 24 based in Seville, Spain.
Lyle XOX, Artistic collaborator, Pieces of Tomorrow
Our consumerist culture is filled with superfluous objects, many of which are past the point of use. For Lyle XOX, these discarded objects are more than their materials—they are filled with artistic possibility. The Vancouver-based artist has developed a practice that combines his experience in art, fashion, design, and makeup artistry to create striking images using his own face and body as canvas and plinth.
Lyle XOX aims to inspire the viewer and therefore people generally, to find creative ways in which they can elevate plastic waste and recycle/upcycle objects into vessels for human connection and storytelling. After growing up in a small town of less than 200 people in rural Saskatchewan, Lyle relocated to Vancouver, attended Blanche MacDonald Centre for Applied Design, and worked for MAC Cosmetics for over 15 years. In 2019, he was named one of the Vogue World 100, and released his book Lyle XOX: Head of Design—published by Rizzoli New York and launched at Bergdorf Goodman. Later that year, Lyle was hosted by both the Dutch fashion house Viktor & Rolf and Cirque du Soleil to witness his process. CBC produced My Favourite Colour, and his book won an International Photography Award.
Lyle XOX has been featured in many international publications including ArtNet, Vogue Italia, V, New York Times, and L’Officiel, and has collaborated with renowned musician and performer FKA Twigs as well as luxury brands.
Finding freedom in movement: Kiana Jung on dance, connection, and storytelling
For Kiana Jung, dance is more than movement—it’s a language of self-expression and connection. As a dancer with Ballet BC, she has spent years refining her craft, not just as a technical pursuit but as a way to engage with the world and people around her.
In a recent conversation, Kiana shared insights into her journey with dance, how it has helped her step out of her comfort zone, and what it’s like to perform in the two works Ballet BC is performing at TO Live.
How did you first fall in love with dance?
It’s funny because my parents started putting me in gymnastics when I was around three, but I just didn’t love it. I felt like there wasn’t a lot of artistry and too much structure.
So they took me out of gymnastics, and we were walking out of the community centre and there was a little dance class that was happening, and I remember just sitting in front of that window and watching the dancers. And my parents put me in one of those classes.
Why do you think you stuck with dancing?
I can truly be myself when I’m dancing. I feel like I’m a really shy person, but when I’m using my body and dancing to music and being in relationships with other people around me, I feel like there’s such a sense of community and a sense of belonging.
What is it about dancing that helps you come out of your shell?
When I’m dancing, I’m not necessarily thinking. When I’m living my life, I am such an overthinker that sometimes it can be really debilitating, but when I’m dancing, I’m truly not thinking. I’m just experiencing. And that doesn’t happen often in life when you’re just living and experiencing the moment.
Tell us about the works you’ll be dancing in at TO Live. Pieces of Tomorrow is about legacy; it’s all the past information and tools that you’ve learned and how you can implement them into the present day. It premiered just last year, and we don’t often revisit pieces, but [choreographer and Ballet BC artistic director] Medhi Walerski is trying to see its growth.
It’s a full company piece, so there’s 20 of us on stage. We’re trying to find cohesion in the simplicity of the images and pathways that we’re making with our bodies within space. And we’re really encouraged to be ourselves in it.
How can you be yourself in a work with 19 other dancers?
I think it comes down to the fact that we spend every day with each other. We all influence each other and grow together. Many of us live together, and we all breathe the same air. It’s this weird thing with dancers, like we can sense each other and sometimes, we really know what the other is thinking and feel each other through movement.
Can you tell us about the other work in the Toronto double bill, PASSING?
We’ve done this piece quite a lot, and I’ve been in the same role since the beginning. Whenever we revisit it, I recognize that I’m a different person, which allows me to further develop the character.
I find that I step into a different world when I do this piece. There’s so much longing and laughter and crying; so many emotions that are extremely relatable. When we talk about being ourselves within dance, this piece really encapsulates that because it will only work if it comes from a true place.
When I look at my colleagues in this piece, I really do see the person, which doesn’t always happen. My favourite part about performing is when I really look at my colleagues and can see how present they are.
“It’s
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Backstage with...Bryce Taylor
Bryce Taylor is a Tkaronto-based breaker who began their dance journey at 13 in Colebrook, Ontario, later joining Canada’s Royal Winnipeg Ballet and Ballet Edmonton.
Taylor is a TO Live explorations artists, and was awarded $7,000 through the initiative to research something new. Alongside their crew TUFF, Taylor has been researching what is possible at the intersection of breaking and partnered dance.
Taylor is also part of TO Live’s Making Space program, which provides subsidized access to spaces for artists. We chatted with them during a recent rehearsal at Meridian Hall to learn more about breaking and their work.
What do you love about dancing?
I’ve always been the kind of person who gets very intense about things very quickly. So if you talk to my mom, she’ll tell you about all the phases I went through; it was acting, then it was sports, then card magic.
But dance was the first thing that really stuck. It’s the only thing that I’ve stuck to for over a decade. And I think it’s because no matter how much you learn about it, you only learn there’s so much more to get into. It’s like as you dig your hole or you go on your journey, all you discover is that there’s more to be discovered. And that cyclical nature just keeps pulling me back in.
What motivated you to focus on breaking?
With breaking, I think it’s the fun, the style itself, the community and the culture, which is about liberation in many ways.
A lot of the styles that I practiced in other phases of my career are about getting it right. So I appreciate the freedom and individuality in breaking, and the assumption that everyone will have their own unique style, whereas in other genres that only happens if you start choreographing.
To get a little technical, breaking is made up of four main groups: uprock, downrock, freezes, and power moves. Each one is almost a dance style unto itself, so it’s almost like four different dance styles in a trench coat pretending to be one. What’s so engaging is that no matter where you want to go, you can class into one of these styles. And all that freedom is very alluring.
What are you working on these days?
Because I was privileged enough to see institutional dance, I thought I might be able to help push the envelope forward in breaking and in street dance. So that’s where most of my energy goes now.
I represent a group called The Unknown Floor Force, or TUFF. We’re working
to become Toronto’s first breaking crew that is also a dance company. Lots of work that needs to be done still because we started in 2023, but we’ve got the ball rolling in some fairly interesting ways.
How important is it for artists to have access to subsidized rehearsal space?
I think it’s extremely precious that TO Live is able to give artists space, and to give it for longer periods where we don’t need to come in all rushed. I think it’s important to understand that breakers generally don’t practice in studios. We never have access to a studio space. They ’re too expensive.
Some of the cheapest studio spaces in Toronto are $75 an hour. So we practice in public buildings. We bring a little boombox, it sounds very beat street with the cardboard and the boombox, but that’s what we do. We go to a public space that has a nice buffed concrete floor where we can spin on it and we get down, and we practice for four hours a night just throwing our bodies onto a concrete floor. So to be able to come into a space that is heated, clean, has a sprung floor, all of these things that help prevent injury, help take care of your body…it’s extremely precious and very appreciated.
What does it mean to you to have your worked supported through TO Live’s explorationsand MakingSpaceprograms?
It’s really incredible. And I don’t mean that just for myself as an artist; for our group it’s a huge deal. TUFF is trying to format itself as a crew, but also as a professional entity. And in Toronto, there’s not a lot of things we can point to in order to be legitimized. And these opportunities lets us know that this work is important and that there is a space for groups like us in this arts ecosystem.
TO Live’s explorations initiative is made possible by supporters of the TO Live Foundation. explorations is generously supported by Power Corporation of Canada.
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Major partners
Canada Council for the Arts
City of Toronto
Government of Canada
Government of Ontario
Greenwin Inc.
Meridian
Ontario Cultural Attractions Fund
The Weston group of companies
Major program supporters
Anonymous (1)
Armenian General Benevolent Union
The Barry and Laurie Green Family
Charitable Trust
IATSE Local 58 Charitable Fund
The Lewitt Family Foundation
Miziwe Biik
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Venue sponsors and partners
Arterra Wines Canada
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In-kind supporters
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TO Live staff and board
Board of directors
Lori DeGraw
Chair
Councillor Lily Cheng
Vice Chair
Councillor Paula Fletcher
Councillor Chris Moise
Robyn Citizen
Brian Astl
Myriam Gafarou
Mustafa Humayun
Terri Jaffe
Gave Lindo
Wasifa Noshin
Sun Young Yoon
Executive management
Clyde Wagner
President & CEO
Isabel Vicente Menanno
Director of the Office of the CEO & Board Relations
Development
Sandra Bellisario
Vice President of Philanthropy & Sponsorship
Madeleine Skoggard
Director of Philanthropy & Sponsorship
Nikita Patel
Senior Manager, Corporate Partnerships & Sponsorships
Halyna Polischuk
Senior Manager, Leadership Giving
Sahar Alamgir
Assistant Manager, Philanthropy & Sponsorship
Finance and administration
William Milne
Vice President of Finance & Administration
Hayde Boccia
Director of Finance
Michael Johnson
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Sabrina Li
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Paul Gagnon
Dorian Barton
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Gladys Torres
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Nelum Dissanayake
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Analyst
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Analyst
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David McCracken
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Ali Irannezhadi
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Michelle Carter
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Dawn T. Maracle
Director of Indigenous Affairs & Engagement
Mohamed Othman
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Melissa Creighton
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Jeff Rohrer
Vice President of Marketing & Communications
Stephanie Canarte
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Grant Ramsay
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Stephen Crooks
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Lauren Finateri
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Emma Forhan
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Shaun Lee
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Jaya Arora
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Joshua DeFreitas
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Tom Kerr
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Fran Holywell
Holly Merkur-Dance
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Annaijah Dacres
Alexander Jackson
Jennifer Norman
Thomas Quinlan
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Brittney Channer
Clayton Batson
Michelle Cruz
Zen Peterson
Box Office Duty Manager
Operations
Matthew Farrell
Vice President of Operations
Edward Delavari
Director of Capital Projects
Luke Belfontaine
Senior Project Manager
BahramAghakhan
Zane Elliott
Bruce Bennett
Senior Manager, Theatre Systems
and Special Projects
Kevin Anthonipillai
Project Administration Manager
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Sean Tasson
Director of patron and event services
Andrew Fong
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Juliana Fay
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Saba Resaei
Tera Harnish-Christie
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Yuki Daloste
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Fiona Alexander
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Lina Welch
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Corey Palmer
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Bruna Pisani
Corrine Engelbrecht
Hugo Ares-Gonzalez
Kizzie St Clair
Patron Services Duty Manager
Jai Bittles
Sous Chef
Facilities
Abiodun Ojekunle
Director of Facilities
Jarryd Fish
Facilities Manager
Evan Ramdin
Chief Building Operator
Robert MacLean
Roderick Padasdao
Building Operator
Ehsan Rahman
Ryan Nerona
Marciano Ramos
Junior Building Operator
Eduardo Costales
Matthew Pannel
Handyperson
Omar Nurse
Stage Door Security Supervisor
Colin Dyble
Henry Fernandes
Mohammad Amaan Vohra
Stage Door Security
Mohammed Shaikh
Mohuddin Memon
Pema Lakshey
Reza Moradi
Sangay Lhamo
Tushar Somani
Stage Door Security
Mohamed Zuhair
Maintenance Supervisor
Ahmed Akinpelu
Aturuchi Joshua
Mizrak Mohamed
Roger Alves
Robert Bischoff
Rosalina Silva
Rosa Victoria
Vivian Hije
Maintenance
John Vickery
Housekeeping Supervisor
Adam Sikora
Alicia Surujbally
Andre O’Hare
Elliott Lewis
Harrison Eales-Estrada
Ian Romero
Jacob Jebadoss Asirvatham
Karrie Smith
Lauren Smith
Mabel Liwag
Rhowen Jane Bunda
Housekeeping
Programming
Max Rubino
Director of Programming
Sierra da Silva-Canadien
Indigenous Cultural Curator
Ariana Shaw
Zac Mansfield
Senior Producer
Kafi Pierre
Shannon Murtagh
Producer
John Kiggins
Programming Manager
Ayse Barut
Programming Coordinator
Courtney Voyce
Bookings Manager
Alex Whitehead
Bookings Coordinator
Corporate & Private Events
Scott North
Director Corporate & Private Events
Michaela Aguirre
Social Media Specialist
Thompson Michael
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Communities and outreach
Tasneem Vahanvaty
Director of Communities & Outreach
Dani Lantier
Naomi Stokes
Communities & Outreach
Coordinator
Production
Kristopher Dell
Director of Production
Anthony (TJ) Shamata
Zoe Carpenter
Senior Production Manager
Peter Suchostawski
Manager, Theatre Systems and Special Projects
Armand Baksh-Zarate
Charissa Wilcox
Chris Carlton
Kristopher Weber
Paul Dolan
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Production Manager
Emma Pressello
Production Coordinator
Meridian Hall stage crew
IATSE Local 58
Richard Karwat
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Steve McLean
Head Carpenter
Marcus Sirman
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Colton Stang
Lead Sound Technician
Michael Farkas
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Peter Cathers
Flyperson
David Baer
Assistant Carpenter
Zsolt Kota
Assistant Sound Operator
Jason Urbanowicz
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St. Lawrence Centre for the Arts
stage crew
IATSE Local 58
Wes Allen
Property Master, Bluma Appel
Theatre
Jay Blencowe
Head Carpenter, Bluma Appel
Theatre
Keijo Makela
Head Sound Technician, Bluma
Appel Theatre
Benn Hough
Head Technician, Jane Mallet
IATSE Local 822
Susan Batchelor
Wardrobe Head, Bluma Appel Theatre
Meridian Arts Centre stage crew
IATSE Local 58
Aaron Dell
Head Technician, George Weston
Recital Hall
Finn Browne
Head Technician, Greenwin Theatre
Duncan Morgan
Head Technician, Studio Theatre
Ian Parker
Head Technician Lyric Theatre
St. Lawrence Centre
Redevelopment
Leslie Lester
Vice President of STLC
Redevelopment
TO Live staff and board list as of January 2025. For the updated version, please visit tolive.com.
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St. Lawrence Centre for the Arts Bluma Appel Theatre
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