Tag: Wen Wei Wang

Tiptoe Through The West Side

 

Joyful, quiet, exuberant, contemplative.

Who knew ballet could be so many things at once?

The National Ballet of Canada‘s summer mixed program, playing as part of this year’s Luminato Festival in Toronto, is a heady mix of contradictions. The first third, “Pur ti Miro”, features the music of Beethoven and Monteverdi; the choreography in the piece, by hot dance figure Jorma Elo, is regal and joyous. The second piece, “Opus 19/The Dreamer” features the choreography of Jerome Robbins and the music of Sergei Prokofiev. The last third is “West Side Story Suite”, based on the legendary musical by Leonard Bernstein, features Robbins’ choreography once more, along with colourful, lively dancing, snaps, and vocals.

With short sections, hummable music, and gorgeous visuals, the mixed program has a little something for everyone. It was with great delight that I noted the incredible number of enthralled children in attendance at Sunday’s matinee performance, as well as numerous twenty-something hipsters. Kids get the liberating quality of dance that is, for the most part, sadly lost in adulthood. It was fascinating to observe their reactions to the music and the moves, and to observe their deep, immediate connection with the dancers.

I was equally struck by the various emotional chords that were hit within the show: funny, sad, whimsical, sad, sassy, melancholy, meditative… innumerable shades of the human experience were expressed with a turn, a hand, an arm wave, and even vocally. It’s become something of a recent phenomenon to have dancers vocalize during a performance; as with Wen Wei Wang’s Cock-Pit (presented in Toronto earlier this year), vocals are a pure enhancement of the inherent drama and silent magic of movement. We take talking -and moving -so much for granted, but to have both, within a kind of vacuum, be used for sheer expression, feels like a revolution. I could only help but wonder what Nureyev would think.

Still within the revolutionary vein, I was bowled over by seeing choreography to one of the most famous pieces of music in the classical canon. I grew up hearing Beethoven’s sole violin concerto in a concert hall; it felt new, strange, and surreal to see dancers leaping around to the concerto’s exuberant third movement. It was interesting to note how the program itself was structured as a kind of journey from traditional to pseudo-modern too; moving from the old-school world of Beethoven and Monteverdi, onto Prokofiev, and Bernstein, was like a nod to a variety of dance styles and expressions.

While I enjoyed the meditative nature of “Opus 19/The Dreamer” (the silent drama between Patrick Lavoie and Sonia Rodriguez was scintillating) and adored the vintage-thug moves and hip-swinging snaps of “West Side Story Suite”, it was “Pur Ti Miro” (roughly translated as “I simply aim for you“) that affected me most deeply. Call it sentiment, call it old-fashioned, but there was something in that old-meets-new ethos in that piece (a world premiere, no less) that felt completely provocative and, weirdly, new. Its juxtaposition with the more modern Robbins works felt like just the kind of balanced contradiction that shapes a festival like Luminato, and, I suspect, will come to define, in many ways, ballet of the twenty-first century.

Top photo: Jenna Savella with Sonia Rodriguez and Elena Lobsanova in Pur ti Miro.
Middle photo: Artists of the Ballet in West Side Story Suite.
Bottom photo: Sonia Rodriguez and Patrick Lavoie in Pur ti Miro.

Radio Radio

After an absence of nearly a year, I’m returning to the radio waves tomorrow morning.

It’s a weird mix of nerves and excitement I’m dealing with right now: fear over the live aspect, of under-prepping (I’m currently, madly, mowing down every piece of info I can find), of being late, of guests getting lost, of me getting lost, of scary electrocuting microphones, of power outages, and tripping on wires and downed signal towers. Some of those fears are, I suppose, more well-founded than others.

A bigger issue is the confidence it takes to get in front of a mic and talk to complete strangers with some degree of authority. When I left a career in advertising many moons ago to go to broadcasting school, I was scared, sure, but I was also armed with an astonishing confidence and self-belief that stupifies me, looking back. Life experience is supposed to make you more resilient, more comfortable in your skin, more ballsy and more brave -not less so. Right?

Another part of me, that small voice that still shouts my love of broadcasting in tinny, transistor-esque tones, is happy, excited, joyful and … content. It feels like a good kind of return. A return to a version of me I miss terribly -the one that wags a joyful tail at strangers and bounds up to a microphone fully confident of the words about to be delivered, half-improv, half-melody, with high and low tones singing a full stream of bleary-eyed morning magic.

Won’t you tune in?

Take 5, CIUT 89.5FM Toronto – I’ll be on after 9.30am ET, interviewing choreographer Wen Wei Wang about his new work, Cock-pit. And yes, there will be more -next week.

Oh, and just for fun, here’s a picture of me with filmmakers Sam Dunn and Scot McFadyen, the guys behind the awesome documentaries Metal: A Headbanger’s Journey, Global Metal, and Iron Maiden: Flight 666. You can’t see it, but yes, my tail is wagging.

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