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Driving back to Fredericton after the Halifax shows we are wowed by the spread in the Telegraph-Journal about Lesandra's process and the show. The piece was written by Kate Wallace who spent a day with us in the studio a few weeks back when we were in rehearsal. She really got at the heart of the the work (the creative nucleus as she put it) and it was the perfect set-up for the hometown show. Lesandra has recently taken a big role in Fredericton as Executive Director of the Charlotte Street Arts Centre, and the impact of her vision and gusto for dance and arts in palpalable in the community, who came out with bubbling anticipation for the Jan. 23rd show. |
The playhouse was a beautiful setting for the three pieces, more formal than the Dunn in Halifax, but also more intimate, with the red seats curving around hugging the stage. While performing I could feel the warmth and attention radiating from the house. A very sensitive yet electric exchange with the audience occurred, as Lesandra peered on from backstage, not wanting to sit in the house.
It was so nice to be able to share Lesandra's work with this community, which she has become a part of in the last seven or so years.
Her blameless mystery was particularly special for me to perform in Fredericton since it was made there in 2010, in the winter, with many images, such as this image of the frozen Saint John River, and wartime housing in Minto, taken from the Fredericton area. It was also the first time our collaborator, film maker Chris Giles, got to see the work on the stage.
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| After my icy solo, Ric & Darryl warm-up the stage with their desert duet |
The boys duet,
In two days a man can change, was a hit in Fredericton, with Darryl and Ric taking their dancing, taunting and hilarity to another level, and the audience right there with them.
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| L to R: Susanne Chui, Chris Giles, Lesandra Dodson, Ric Brown, Hannah Burrows, Darryl Tracy, Vicky Williams |
We said goodbye to our amazing technical duo, Vicky Williams, lighting designer who really brought the works to life, and Hannah Burrows who did an incredible job learning the million and one sound, light and video cues while also making us feel completely taken care of every step of the way.
Then it was off to Winnipeg, with Darryl steeping in as props coordinator, making sure the rugs made it safe and sound.
Darryl (despite the late night and jet-lag) taught an early morning class to a stellar groups of young dancers
at the School of Winnipeg Contemporary Dancers, who really know how to move! Smiles and laughs filled the room.
We arrived in Lesandra's old stomping ground; having gone to the school herself and danced with the company, this performance was another kind of homecoming for her. It was so nice to finish the tour here, in the intimacy of the Rachel Browne Theatre, surrounded by old friends and fans of Lesandra, who know her work well. It was also the first time that Christine Fellows saw A leash for two hounds performed with the final music which she composed for the work. We were worried at first with the changes we made, but Christine was very pleased, shining a great big smile from the seats every night. Opening night we were washed with a wave of applause and a standing ovation from the Winnipeg audience. With the pieces, and our performances having become richer and more nuanced over the tour, it was so great to finish on this note.
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| Outside the theatre |
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| Inside the Rachel Browne Theatre |
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| The Winnipeg version of the poster |
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| In the lobby was a retrospective of Winnipeg Contemporary Dancers, and who else did we find than a young whipper snapper L. Dodson. |
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| Darryl stays warm on the streets of Winterpeg |
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| The best coffee in town that kept us going during our long tech days |
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| Ric gets inspired |
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| Another fantastic tech team in Winnipeg, with the presenter Brent Lott stepping in to call the show. |
Thank you to all who made this a very fun, fulfilling and memorable tour. So long from the Trilogy team!
'Till next time,
Susanne
The playhouse was a beautiful setting for the three pieces, more formal than the Dunn in Halifax, but also more intimate, with the red seats curving around hugging the stage. While performing I could feel the warmth and attention radiating from the house. A very sensitive yet electric exchange with the audience occurred, as Lesandra peered on from backstage, not wanting to sit in the house. 
It was so nice to be able to share Lesandra's work with this community, which she has become a part of in the last seven or so years. 
Her blameless mystery was particularly special for me to perform in Fredericton since it was made there in 2010, in the winter, with many images, such as this image of the frozen Saint John River, and wartime housing in Minto, taken from the Fredericton area. It was also the first time our collaborator, film maker Chris Giles, got to see the work on the stage. 
Then it was off to Winnipeg, with Darryl steeping in as props coordinator, making sure the rugs made it safe and sound.
Darryl (despite the late night and jet-lag) taught an early morning class to a stellar groups of young dancers at the School of Winnipeg Contemporary Dancers, who really know how to move! Smiles and laughs filled the room. 
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