Westbound: Stories at a Bus Stop, performed by Evolve Dance Company at the Park Theatre, June 8, 2012
Reviewed by Stephanie Adamov
Fulfilling a specific cultural gap is crucial when developing a new arts organization. Adapting to the changing artistic landscape can ensure survival. As Winnipeg’s newest dance company, Evolveprovides an essential outlet for aspiring dancers and novice choreographers.
Though Winnipeg was the cultural capital of Canada for 2010, co-founders and artistic directors of Evolve, Lena Wiklund and Reanna Joseph, have noticed that unless you are in pursuit of a professional ballet or contemporary dance career, there are few professional opportunities for dancers to present their works to avid Winnipeg audiences.
There are numerous dance hubs found throughout Winnipeg: underground hip hop crews, musical theatre groups and many other talented jazz, ballroom, and ethnic dance organizations. However the prospect of professional public performance is out of reach.
This is the cultural gap Evolve aspires to address.
Kaja Irwin on stage with Evolve
At Evolve’spremier, Westbound: Stories at a Bus Stop, pieces were choreographed by both the artistic directors and by fellow company members Genie Baffoe and Kaja Irwin. The performing ensemble is made up of eight promising dancers, each with dynamic and diverse training. The troupe’s pallet of rich dance experiences ranges from funk to ballet, musical theatre to hip hop and even includes some west African and Ukrainian folk dance.
The idea for the show was conceived out of personal experiences on windswept curbs waiting for semi-reliable Winnipeg Transit. The title serves as a metaphor to reflect the dancers daily transport issues and the frustrations of the inevitable neon glow reading “Not In Service.” Ironically, perhaps this emphasizes Evolve’s purpose.
The dynamic first number “Opening,” choreographed by Reanna Joseph and performed by the ensemble, set the bar high and created anticipation. “Opening” effectively displayed the diverse array of transit users throughout the entirety of the piece. The hustle of the sidewalks was captured and the strengths of Irwin’s RWB training, Joseph’s stage charisma and Baffoe’s hip hop flair provided a great foundation for the show. The climactic moment of ‘spray painting the bench’ was undone during the struggle to have a paper “Evolve” sign stick on to the face of the wooden bench by the sound of scotch tape. This was a slight fizzle in this otherwise outstanding firework.
The second piece that utilized the theme effectively was “Own Up” performed and choreographed by Genie Baffoe. The piece identified a clear character and a powerful conflict, and was thoroughly stimulating. This combination created one of the most compelling of the pieces. With the song “Own Man” by ReZume, Baffoe established the character of a young man struggling with his addiction. This was achieved through his riveting, syncopated movement that displayed the internal conflict he endured while holding a bottle of vodka. His subtlety in each gesture was hypnotizing.
Stylistically, the bus stop and bench were, at times, effectively used. At other times, they were largely ignored. Dancers would utilize the other side of the stage for ensemble movements, and the ‘waiting for the bus’ element was not a huge concern for the overall story line of each piece. Soundscapes of traffic and city noises could have really helped in the suspension of disbelief for this performance.
Inserted through the otherwise self-explanatory numbers such as “Drunk,” “Vandals” and “Night Workers” were acoustic musical interludes by Rory Verbrugge and Julien Desaulniers. These short intermissions allowed for extended costume changes and the two young men alternated as buskers at the bus stop. While this had potential to add to the atmosphere of the storyline of ‘waiting for the bus,’ the lack of casual onlookers made for a few awkward transitional moments.
The night served as an excellent dance showcase for a troupe of Winnipeg’s promising dancers. The potential of the dancers and their desire to perform created an exciting atmosphere resonating with “So You Think You Can Dance” spirit. However, establishing a unifying narrative would have provided more continuity and strengthened the show.
This young company’s development will be one to watch over time. Evolve fills an important niche in Winnipeg’s dance community. As a first performance for the ensemble, it was evident to see which dancers had more formal experience in front of an audience. Evolve will provide an important forum for developing the artistic self-expression and the teeming potential of these talented young dancers. Winnipeg audiences should look forward with anticipation to future productions.
Bus Going West, In Service
Columns
Westbound: Stories at a Bus Stop, performed by Evolve Dance Company at the Park Theatre, June 8, 2012
Reviewed by Stephanie Adamov
Fulfilling a specific cultural gap is crucial when developing a new arts organization. Adapting to the changing artistic landscape can ensure survival. As Winnipeg’s newest dance company, Evolve provides an essential outlet for aspiring dancers and novice choreographers.
Though Winnipeg was the cultural capital of Canada for 2010, co-founders and artistic directors of Evolve, Lena Wiklund and Reanna Joseph, have noticed that unless you are in pursuit of a professional ballet or contemporary dance career, there are few professional opportunities for dancers to present their works to avid Winnipeg audiences.
There are numerous dance hubs found throughout Winnipeg: underground hip hop crews, musical theatre groups and many other talented jazz, ballroom, and ethnic dance organizations. However the prospect of professional public performance is out of reach.
This is the cultural gap Evolve aspires to address.
Kaja Irwin on stage with Evolve
At Evolve’s premier, Westbound: Stories at a Bus Stop, pieces were choreographed by both the artistic directors and by fellow company members Genie Baffoe and Kaja Irwin. The performing ensemble is made up of eight promising dancers, each with dynamic and diverse training. The troupe’s pallet of rich dance experiences ranges from funk to ballet, musical theatre to hip hop and even includes some west African and Ukrainian folk dance.
The idea for the show was conceived out of personal experiences on windswept curbs waiting for semi-reliable Winnipeg Transit. The title serves as a metaphor to reflect the dancers daily transport issues and the frustrations of the inevitable neon glow reading “Not In Service.” Ironically, perhaps this emphasizes Evolve’s purpose.
The dynamic first number “Opening,” choreographed by Reanna Joseph and performed by the ensemble, set the bar high and created anticipation. “Opening” effectively displayed the diverse array of transit users throughout the entirety of the piece. The hustle of the sidewalks was captured and the strengths of Irwin’s RWB training, Joseph’s stage charisma and Baffoe’s hip hop flair provided a great foundation for the show. The climactic moment of ‘spray painting the bench’ was undone during the struggle to have a paper “Evolve” sign stick on to the face of the wooden bench by the sound of scotch tape. This was a slight fizzle in this otherwise outstanding firework.
The second piece that utilized the theme effectively was “Own Up” performed and choreographed by Genie Baffoe. The piece identified a clear character and a powerful conflict, and was thoroughly stimulating. This combination created one of the most compelling of the pieces. With the song “Own Man” by ReZume, Baffoe established the character of a young man struggling with his addiction. This was achieved through his riveting, syncopated movement that displayed the internal conflict he endured while holding a bottle of vodka. His subtlety in each gesture was hypnotizing.
Stylistically, the bus stop and bench were, at times, effectively used. At other times, they were largely ignored. Dancers would utilize the other side of the stage for ensemble movements, and the ‘waiting for the bus’ element was not a huge concern for the overall story line of each piece. Soundscapes of traffic and city noises could have really helped in the suspension of disbelief for this performance.
Inserted through the otherwise self-explanatory numbers such as “Drunk,” “Vandals” and “Night Workers” were acoustic musical interludes by Rory Verbrugge and Julien Desaulniers. These short intermissions allowed for extended costume changes and the two young men alternated as buskers at the bus stop. While this had potential to add to the atmosphere of the storyline of ‘waiting for the bus,’ the lack of casual onlookers made for a few awkward transitional moments.
The night served as an excellent dance showcase for a troupe of Winnipeg’s promising dancers. The potential of the dancers and their desire to perform created an exciting atmosphere resonating with “So You Think You Can Dance” spirit. However, establishing a unifying narrative would have provided more continuity and strengthened the show.
This young company’s development will be one to watch over time. Evolve fills an important niche in Winnipeg’s dance community. As a first performance for the ensemble, it was evident to see which dancers had more formal experience in front of an audience. Evolve will provide an important forum for developing the artistic self-expression and the teeming potential of these talented young dancers. Winnipeg audiences should look forward with anticipation to future productions.