Ginette Laurin: «ANGELs»

The intimate universe of Ginette Laurin and her seven O Vertigo dancers is on view for the entire world to see. Because the world premiere of “ANGELs” represents a departure for the Montréal-based choreographer who since the start of her prolific career has solidified her reputation on the international stage with her poe­tic, physically dynamic dances.

In truth, Laurin has for some years been drifting choreographically, but in her last piece, “Passare,” and more boldly in this newest work, her need to divest herself of excess and trappings, and emptiness, is ever-present and that‘s encouraging.
In “ANGELs,” Laurin states that she wanted to investigate the personal fantasies of her dancers. First she elicited their stories and then launched into a physical process that would facilitate later choreographic development. The piece opens with two dancers entering the stage, with headset microphones, talking to each other in a mock telephone conversation. One (Michelle Rhode) faces the audience, seated on stool, while the other (Mélanie Demers), with her back to the crowd, is being captured live on video. Transparent plastic curtains offset a white floor, while a video screen (what looks ...