Wells Hill is an immersive contemporary dance work that celebrates communication and explores humanity’s relationship with medium and performance. It draws inspiration from the work of Marshall McLuhan and Glenn Gould, two Canadian luminaries who altered how we consume art and information. With an incredible cast of performers backed by an innovative artistic team (Diane Park, costumes; James Proudfoot, lighting) this work promises to be an exciting tapestry of movement and sound. Choreographer Vanessa Goodman’s thoughtful work strives to be a spectacle and has been praised for its “thrilling visual magic” (The Georgia Straight). Dance House premiere 2017.≈
(credit for photos: Ben Didier)
Commissioned by composer Nicole Lizeé as part of Black Midi, premiered by Kronos Quartet with the Toronto Symphony Orchestra, 2017
Nicole wrote the melody and I knit it into a scarf, with the melody devolving into a mess of black yarn, like (musical notation software) MIDI does when there’s a glitch. Video of me knitting the scarf, the sound of my knitting needles, and my voiceover in the style of Gregory Peck from Hitchcock’s Spellbound, all made it into “Black MIDI.” Seeing André de Ridder conduct Kronos and the TSO to the cadence of my voice is trippy.
Soprano Heather Pawsey, photographer Maggie MacPherson, and artist Diane Park create an interdisciplinary evening giving voice to women of myth. Featuring the world premiere of Jeffrey Ryan’s song cycle based on poems by Rachel Rose.
Diane Park explores performative costuming with a suite of costumes that transform onstage.
Commissioned by Heather Pawsey for Astrolabe Musik Theatre, 2017 photo credit: Persephone by Maggie McPherson