Sporting Life

Sporting Life
Choreography by Julia Sasso
Performed by Jesse Dell, Daniel McArthur, Irvin Chow, Mateo Galindo Torres, Matthew Cuff
Sound Design by Julia Sasso and Eric Cadesky
Julia Sasso dances and Danceworks/NextSteps
Harbourfront Centre, Toronto
March 3-5, 2016
In this remount of Julia Sasso's full-length 1996 work, Sporting Life, five dancers wearing business suits-- jackets, trousers and traditional lace-up leather shoes-- enter an unadorned stage sliced diagonally by shards of light. There seem to be five men. They seem to be in competition, and there is roughness and harshness to their movement. They appear constrained, anxious, stressed, and under an ontological pressure that comes from the hard shaping light, the soundscape, and from each other. Their leaps are not of joy, but as if hurdling over obstacles or seeking escape. They shrink from vulnerability, are strangely sexless and dominated by the limits the light shapes make on stage. Even the music, which has become large and orchestral, dwarfs them into anonymity.
Even after removing some of their binding clothing, they are buffeted by traffic and train sounds. They dance solo, in duets, in threes, in simultaneity or in opposition, and their cavorting is temporary; they take the fetal position and then pose with extreme awkwardness, heads on the floor, necks twisted, knees on the floor, arms wrenched up behind their backs, hands gripped and gnarled together. 
Tension slowly builds until it becomes so disruptive that a disintegration of rigidity occurs and they begin to find release. They undress at the front of the stage, mugging and chatting to us, and replace their tight, cliched garments with soft dresses. That one of the dancers is a woman is a surprise, and reinforces the sense of the dancers shedding a kind of character-muting disguise. By geometries of bodies and limbs-- harsh angles to gentler bending-- and the shifting of musical tone-- "Gimme a little kiss, will ya, huh?" to German lieder-- their physical expression shifts and unveils a kind of pure joy, and humour. The dancers--Jesse Dell, Daniel McArthur, Irvin Chow, Mateo Galindo Torres and Matthew Cuff-- are strong and physically eloquent, performing this challenging and intricate work and its emotional, dark and comic expressive range with tenderness, elasticity, and precision. The subtlety and depth of this transformation is quite extraordinary.
Julia Sasso has a unique and splendid way of creating kinetic "paintings" across the stage in her work. Washes of movement-- rash, soft, harsh, flowing, isolated, interactive as the piece requires-- build and flow in a transcendent experience for the audience. In Sporting Life, it is as if we are given a window into a striking period of societal change, a microcosm of partial breakdown of barriers, a manifestation of the process of liberation that it is hard to imagine art being able to create in any other way.
It is wonderful that DanceWorks has delved into recent Canadian dance history to produce Sporting Life for a contemporary audience. This is a beautiful idea that should happen more often, allowing us a tangible view into our cultural past, to build on tradition, and at the same time recreating classic work that stands the test of time.


Vital Few

Artistic Co-directors Lisa Gelley and Josh Martin
Dancers: Laura Avery, Hayden Fong, Josh Martin, Renee Sigouin, Jessica Wilkie, and Sophia Wolfe
Thursday, May 7, 8:00pm
Harbourfront Centre Theatre as part of Next Steps
231 Queens Quay West, Toronto
Reviewed by Ted Fox
Six dancers join together to create a single organism with alternating heads popping up in the centre. Clumped together, their faces express contentment and playfulness as their hands caress and enfold the others.
One by one they separate from this body and unite to become human cells in a fast-moving hyper-pulsating organism. Yet all retain their individuality, seemingly improvising within the moment, according to each dancer's background.
Their facial expressions radiate awareness of the vibes of those around them, assessing and reacting to each other. They are alert to sudden spontaneous changes in movement, tempo, pauses and speed. In many fast-paced dance shows, dancers in unison are choreographed to move the same. Here, though, there is a sense of independence, trust and caring for each other.
The hyper lighting design ranges from ultra-bright blue, gold, red and white. The dancers' bodies stand out more sharply than if seen in reality. A white-lit segment in which the dancers freeze with their backs to us has the effect of a sculptured snapshot.
Behind the dancers are projections that suggest a blurred grassy field on which the shadows of their actual body movements appear. This is a naturalistic counterpoint to the steely digital sharp figures and environment we are seeing. Just like the brief appearance of a scratchy recording of Enrico Caruso which sounds more natural than a digitized version.
The show climaxes with the dancers peeling off the black reflecting plastic sheets on the floor that they danced on. One by one they drop out of dancer mode into individuals like us. One keeps dancing, oblivious to the others, who try to make her aware that the show is over. Eventually she too stops. The dancers stand, backs to us, looking like we do, at the sheets piled along the back of the stage, the metallic light bouncing off them. There is a sense of looking at a mirage of a futuristic city on a horizon or the remnants of one.
Is there a socio-political thread running through this piece? Does the title refer to them as the Vital Few who have worked on this creation as a group while keeping their individuality? That there is hope that by coming together with trust we can dismantle our current technological society and rebuild?
Visually, aurally and stunningly danced, Vital Few resonates as an exhilarating, gripping experience.


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