Tag Archives: crystal pite

Leaning into the Unknowable @nationalballet

Posted on March 2, 2020 by barczablog

As I consider renewing my Canadian Opera Company subscription, it was worth having a look at the other company occupying the Four Seasons Centre. Watching the new program at the National Ballet of Canada was a great way to spend … Continue reading →

Posted in Dance, theatre & musicals, Music and musicology, Opera, Personal ruminations & essays, Reviews, Spirituality & Religion | Tagged , , , , , , , | 4 Comments

AF and why

Posted on February 21, 2020 by barczablog

Huge preamble coming. If you want to skip to the review itself, look under the photo.I went to see AF and am daring to review it. I feel I need to say this after having read Yvette Nolan’s piece, responding … Continue reading →

Posted in Dance, theatre & musicals, Personal ruminations & essays, Reviews | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Framing the Pollyanna proposition

Posted on January 9, 2020 by barczablog

January is named for that two-headed god who is able to look ahead and back. As I ponder the wreckage of 2019 I wonder if Janus was too busy looking down at his phone and not watching where he was … Continue reading →

Posted in Dance, theatre & musicals, Music and musicology, Personal ruminations & essays | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Revisor

Posted on March 8, 2019 by barczablog

The hybrid creation Revisor from Jonathon Young and Crystal Pite is so much more than I can put into words, a piece of theatre that explores the process of signification while showing us the ways that it breaks down. It’s … Continue reading →

Posted in Dance, theatre & musicals, Reviews | Tagged , , , , , , | 3 Comments

Betroffenheit’s ambitions

Posted on February 21, 2016 by barczablog

I am riding the emotional high of Betroffenheit, a co-creation & co-production of Crystal Pite’s Kidd Pivot and Jonathon Young’s Electric Company Theatre, presented tonight at the Bluma Appel Theatre as part of Canadian Stage’s current season, in a run … Continue reading →

Posted in Dance, theatre & musicals, Music and musicology, Opera, Reviews | Tagged , , , , | 3 Comments

The Tempest Replica: Icing and Cake

Posted on May 8, 2014 by barczablog

Tonight Toronto got another look at Kidd Pivot, Crystal Pite’s company from out west.  While this may be new to us, it’s not really new.  Just as Dark Matters –brought to Toronto by Canadian Stage back in 2012— was already … Continue reading →

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Dark Matters, or What does Dance know of Puppetry?

Posted on March 2, 2012 by barczablog

Dark Matters is every bit as mysterious & profound as its portentous title.  The work was conceived, directed & choreographed by Crystal Pite, presented by her company Kidd Pivot Frankfurt RM (KP are supported by Kulturfonds Frankfurt RheinMain) In the … Continue reading →

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What price virtuosity, or the (body) image problem.

Posted on December 14, 2010 by barczablog

I used to see opera and ballet as two sides of the same coin. I understood them in terms of an obsession with power & fluidity, accomplished by ballet’s bodies, and by opera’s voices.   The dancer’s movements were what … Continue reading →

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