From the team that brought you the ground-breaking, award-winning Betroffenheit and Revisor comes Kidd Pivot's latest creation, a dance-theatre hybrid that promises to deliver the company's trademark wit and ingenuity.
Co-creators Crystal Pite (Kidd Pivot) and Jonathon Young (Electric Company Theatre) bring together eight superb performers in a new work that explores our need for a sense of togetherness and belonging. In a setting somewhere between a...
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Last updated: November 2, 2023
A note from the Executive Producer, NAC Dance
Dear audience,
Avisit from CrystalPite is always a cause for celebration. TheVancouver choreographer first visited the NACStudio in 2004, shortly after forming her own company, Kidd Pivot. NACDance has supported her ever since, and continues to do so today, to the delight of Ottawa audiences—it’s a beautiful love story!
I’dlike to take this opportunity to mention the NAC Creation Fund, which supported the development and creation of Assembly Hall. TheFund gives artists the resources they need to achieve their goals, to take the magic of the performing arts, the magic of dance, to the next level.
Let us be carried along together by the ingenuity of CrystalPite, JonathonYoung and their wonderful associates and performers, by their clear and thoughtful view of life in all its depth and complexity.
I’d like to join the NAC Dance and NAC teams in wishing you a wonderful dance experience.
Caroline Ohrt has held a variety of positions in various cultural organizations, acquiring a solid knowledge of the arts ecosystem, management and governance. She has built strong local, national and international professional network which allowed her to present the highest calibre artists from all over the world at the Place des Arts, Danse Danse’s home. While there, she developed many partnerships. She cultivated opportunities for artists and audiences to meet on multiple platforms, whether at the Musée d’art contemporain de Montréal, at the Arsenal art contemporain or virtually. She actively contributed to the growth of the organization and took to heart the support and development of artists, which remains a cornerstone of her work.
She has also held multiple positions in the world of contemporary arts, including with other dance organizations such as Compagnie Marie Chouinard and, more recently, at the Domaine Forget in Saint-Irénée. With a background in art history, Caroline has advised visual arts collectors and carried out assignments at the Montreal Museum of Fine Arts. She is recognized widely as a person in constant dialogue with the forces that shape contemporary creation.
Recognized for her innovative strategic vision, she is actively involved in the community through her participation on prominent boards and juries. She is vice-president of the Conseil des arts de Montréal and a board member of the École de danse contemporaine de Montréal. Her advice is highly valued for her keen understanding of the cultural milieu and artistic realities.
Le parcours de Caroline Ohrt aura forgé chez elle une solide connaissance de la danse, de l’écosystème des arts, de la gestion et de la gouvernance. Elle a su bâtir un réseau professionnel local, national et international qui lui a permis de présenter des artistes de haut calibre provenant de tous les coins du monde sur les différentes scènes de la Place des Arts.
Son passage à Danse Danse aura été marqué par le développement de partenariats structurants. Elle a cultivé des occasions de rencontres pour les artistes et les publics sur de multiples plateformes, que ce soit au Musée d’art contemporain de Montréal, à l’Arsenal art contemporain, ou de façon virtuelle. Elle a activement contribué à la croissance de l’organisme et a à cœur le soutien et le développement des artistes, pierre angulaire de son travail.
Connue dans le milieu des arts contemporains, elle a occupé de multiples fonctions et accompli des mandats auprès d’autres organismes de danse, notamment à la Compagnie Marie Chouinard et, plus récemment, au Domaine Forget de Saint-Irénée. Forte d’une formation en histoire de l’art, Caroline a aussi conseillé des collectionneurs en arts visuels et accompli des mandats au Musée des beaux-arts de Montréal. Elle est connue pour être une personne en constant dialogue avec les forces vives de la création actuelle.
Saluée pour sa vision stratégique novatrice, elle s’implique activement dans la communauté en participant à des conseils d’administration et des jurys de renom. Elle est actuellement vice-présidente du Conseil des arts de Montréal et administratrice de l’École de danse contemporaine de Montréal. Ses conseils sont recherchés pour sa fine compréhension du milieu culturel et des réalités artistiques.
Sometimes these things begin with a concrete premise or proposition, but we were starting from scratch. It was early spring, and we were meeting over coffee one bright morning for the first conversation about our next project. Neither of us knew what the other was thinking and both had come with only the faintest inkling about what terrain we might want to explore next.
By the end of that meeting though, a group of individuals had assembled in our imagination. They were gathered around the remnants of an old story – a story, it seemed to us then, that they were caring for and keeping alive. Were they Historians? Folklorists? Conservators? How had this story drawn them into its orbit? What was the connection? Perhaps these people needed this story as much as the story needed them. Or perhaps the story itself was secondary to that age-old human need to congregate; to participate in a communal activity; to be recognized and feel a sense of belonging. Then Spring became Summer, and Summer, Fall. Then Winter came and before we knew it, a year had passed.
A quick scan through our various exchanges over the course of that year reveals something of the meandering route we took to arrive at Assembly Hall. Although many signposts were left along the way, with headings written in bold above paragraphs of what seemed essential information at the time, the truth is, many of the paths we so eagerly blazed are now overgrown. Here are some examples from the trail:
The Shirt of St. Louis. The Lund Astronomical Clock. An Automated Display of Two-dimensional Figures. A Collection of Fragile Artifacts. An Unexpected Reunion, by Johann Peter Hebel.
“The spirits that I summoned I now cannot rid myself of again.” Goethe The Quest to Fail, the Medieval Presence in Modernist Literature, by Jonathan Ullyot. From Ritual to Romance, by Jessie Weston. Perceval, by Chrétien De Troyes.
The Chapel Perilous. The Harrowing of Hell. The Hour of Recollection.
“Absence is the form God’s presence takes in this world.” Simone Weil
The Royal Antediluvian Order of Buffaloes. A History of the Elks.
The Society for Creative Anachronism.
“There is no death.” Guy W. Ballard.
Roberts’ Rules of Order. Ten Laws for Great Governance. A Bunch of Amateurs by Kim Hopkins.
A small community hall used by a variety of different groups.
Was there a more obvious, more direct route to get here? It may have been more efficient to avoid the forest and stay on the road. Then again, if we’d taken a different route, with a different group of people, this particular hall might never have been found. Despite its many mysteries, Assembly Hall emerged from familiar memories. It’s as though we spent some of our childhood here attending recitals, or fundraisers, or ceremonies, or pageants, or potlucks. It was built by a group of people who came together on a common quest; A group of people who sat together, hour after hour, conjuring it, sketching it, speaking it into existence, listening for how it sounded, and for what it might say. A group of people who struggled to maintain and restore it when it seemed on the verge of falling apart; A group of people who believed in it and fought for it at each twist and turn. A group of people who, through the passing of seasons, filled this little hall with life. Welcome. We’re grateful you’re here.
In a choreographic career spanning three decades, Crystal Pite has created more than 50 works for dance companies in Canada and around the world. She is the founding artistic director of the Vancouver-based company Kidd Pivot, world-renowned for radical hybrids of dance and theatre that are assembled with a keen sense of wit and invention. Crystal is known for works that courageously address such challenging and complex themes as trauma, addiction, conflict, consciousness, and mortality; her bold and original vision has earned her international acclaim and inspired an entire generation of dance artists.
Crystal Pite was born in Terrace, BC, and grew up in Victoria. She began her dance career as a company member of Ballet British Columbia (Ballet BC), then William Forsythe’s Ballett Frankfurt. She made her choreographic debut in 1990 at Ballet BC, and since then has created works for such prominent companies as The Royal Ballet, The Paris Opera Ballet, Nederlands Dans Theater, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Ballets Jazz Montréal (resident choreographer 2001–04), and Cedar Lake Contemporary Ballet. She has also collaborated with Electric Company Theatre and Robert Lepage, and is currently Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist of Sadler’s Wells in London.
In 2002, she formed Kidd Pivot, a company that strives to distill and translate universal questions into artworks that connect us to deep and essential parts of humanity.
“Running through all of my work is the question of what moves us,” she says. Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co-created with playwright Jonathon Young), The Tempest Replica, Dark Matters, Lost Action and The You Show. In 2008, Crystal Pite participated in the inaugural GGPAA Mentorship Program as the protégée of 2004 GGPAA laureate Veronica Tennant, former principal dancer of the National Ballet of Canada.
Crystal Pite is a Member of the Order of Canada. Her other awards and honours include the Benois de la Danse, Canada Council Jacqueline Lemieux Prize, Grand Prix de la danse de Montréal, two UK Critics’ Circle Dance Awards, four Laurence Olivier Awards, and an honorary doctorate from Simon Fraser University.
Au cours d’une carrière de chorégraphe qui s’étend sur trois décennies, Crystal Pite a créé plus de 50 œuvres pour des compagnies de danse au Canada et dans le monde entier. Elle est la directrice artistique fondatrice de la compagnie Kidd Pivot de Vancouver, reconnue mondialement pour ses hybridations radicales entre la danse et le théâtre, assemblées avec un sens aigu de l’esprit et de l’invention. Mme Pite est connue pour ses œuvres qui abordent courageusement des thèmes aussi difficiles et complexes que les traumatismes, la toxicomanie, les conflits, la conscience et la mortalité. Sa vision audacieuse et originale lui a valu une reconnaissance internationale et a inspiré toute une génération d’artistes de la danse.
Crystal Pite est née à Terrace, en Colombie-Britannique, et a grandi à Victoria. Elle a commencé sa carrière de danseuse comme membre de la compagnie du Ballet British Columbia (Ballet BC), puis du Ballett Frankfurt de William Forsythe. Elle a fait ses débuts de chorégraphe en 1990 au Ballet BC, et depuis, elle a créé des œuvres pour des compagnies aussi prestigieuses que le Royal Ballet, le Ballet de l’Opéra de Paris, le Nederlands Dans Theater, le Ballet Cullberg, le Ballett Frankfurt, le Ballet national du Canada, Ballets Jazz Montréal (chorégraphe résidente de 2001 à 2004) et le Cedar Lake Contemporary Ballet. Elle a également collaboré avec l’Electric Company Theatre et Robert Lepage, et est actuellement chorégraphe associée du Nederlands Dans Theater, artiste de danse associée du Centre national des Arts du Canada et artiste associée du Sadler’s Wells à Londres.
En 2002, elle a créé Kidd Pivot, une compagnie qui s’efforce de distiller et de traduire des questions universelles en œuvres d’art qui nous relient à des parties profondes et essentielles de l’humanité.
“La question de savoir ce qui nous touche traverse tout mon travail”, dit-elle.
Kidd Pivot effectue des tournées internationales avec des œuvres acclamées par la critique telles que Betroffenheitet, Revisor (toutes deux co-créées avec le dramaturge Jonathon Young), The Tempest Replica, Dark Matters, Lost Action et The You Show.
En 2008, Crystal Pite a participé au programme inaugural de mentorat des GGPAA en tant que protégée de Veronica Tennant, lauréate des GGPAA en 2004 et ancienne première danseuse du Ballet national du Canada.
Crystal Pite est membre de l’Ordre du Canada. Parmi les autres prix et distinctions qu’elle a reçus, mentionnons le prix Benois de la Danse, le Prix Jacqueline-Lemieux du Conseil des arts du Canada, le Grand Prix de la danse de Montréal, deux Critics’ Circle Dance Awards du Royaume-Uni, quatre prix Laurence Olivier et un doctorat honorifique de l’Université Simon Fraser.
Canadian theatre artist Jonathon Young is playwright-in-residence at Kidd Pivot and a core artist of Electric Company Theatre, where he has created and performed in over 20 original productions: Tear the Curtain! (Arts Club Theatre, Canadian Stage), No Exit (American Conservatory Theatre), Betroffenheit (international tour). He has worked as an actor on stages across Canada : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company/ Luminato Festival), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). In addition to Betroffenheit and Revisor, Jonathon collaborated with Crystal Pite on two productions for Nederlands Dans Theater (Parade and The Statement). Jonathon is the recipient of an Olivier Award and the UK National Dance Award.
Artiste de théâtre canadien, Jonathon Young est dramaturge en résidence à la compagnie Kidd Pivot et artiste principal à l’Electric Company Theatre, où il a collaboré à la création et à l’interprétation de plus de 20 productions originales, dont : Tear the Curtain! (Arts Club Theatre et Canadian Stage), No Exit (American Conservatory Theatre) et Betroffenheit (tournée internationale). Jonathon a également travaillé partout au Canada en tant qu’acteur indépendant. Parmi ses récents projets, on compte : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company et Festival Luminato), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). En plus de Betroffenheit et Revisor, Jonathon a collaboré avec Crystal Pite sur deux projets pour le Nederlands Dans Theatre : Parade et The Statement. Jonathon a reçu le prix Olivier et le National Dance Award du Royaume-Uni.
World-renowned for radical hybrids of dance and theatre, Kidd Pivot creations are assembled with a keen sense of wit and invention. Led by Canadian choreographer and director Crystal Pite, the company is unflinching in the face of such challenging and complex themes as trauma, addiction, conflict, consciousness and mortality. Pite’s bold and original vision has earned her international acclaim and inspired an entire generation of dance artists.
Kidd Pivot strives to distill and translate universal questions into artworks that connect us to profound and essential parts of humanity. “Running through all of our work is the question of what moves us,” says Pite.
Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co-created with playwright Jonathon Young), The Tempest Replica, Dark Matters, Lost Action, and The You Show.
Since 2015, Kidd Pivot has measured its touring carbon footprint and offset over 1000 tonnes of CO2e (carbon dioxide equivalent), enabling Kidd Pivot to be one of the first dance companies to tour carbon neutral.
In a choreographic career spanning three decades, Crystal Pite has created more than 50 works for dance companies in Canada and around the world. She is the founding artistic director of the Vancouver-based company Kidd Pivot, world-renowned for radical hybrids of dance and theatre that are assembled with a keen sense of wit and invention. Crystal is known for works that courageously address such challenging and complex themes as trauma, addiction, conflict, consciousness, and mortality; her bold and original vision has earned her international acclaim and inspired an entire generation of dance artists.
Crystal Pite was born in Terrace, BC, and grew up in Victoria. She began her dance career as a company member of Ballet British Columbia (Ballet BC), then William Forsythe’s Ballett Frankfurt. She made her choreographic debut in 1990 at Ballet BC, and since then has created works for such prominent companies as The Royal Ballet, The Paris Opera Ballet, Nederlands Dans Theater, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Ballets Jazz Montréal (resident choreographer 2001–04), and Cedar Lake Contemporary Ballet. She has also collaborated with Electric Company Theatre and Robert Lepage, and is currently Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist of Sadler’s Wells in London.
In 2002, she formed Kidd Pivot, a company that strives to distill and translate universal questions into artworks that connect us to deep and essential parts of humanity.
“Running through all of my work is the question of what moves us,” she says. Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co-created with playwright Jonathon Young), The Tempest Replica, Dark Matters, Lost Action and The You Show. In 2008, Crystal Pite participated in the inaugural GGPAA Mentorship Program as the protégée of 2004 GGPAA laureate Veronica Tennant, former principal dancer of the National Ballet of Canada.
Crystal Pite is a Member of the Order of Canada. Her other awards and honours include the Benois de la Danse, Canada Council Jacqueline Lemieux Prize, Grand Prix de la danse de Montréal, two UK Critics’ Circle Dance Awards, four Laurence Olivier Awards, and an honorary doctorate from Simon Fraser University.
Au cours d’une carrière de chorégraphe qui s’étend sur trois décennies, Crystal Pite a créé plus de 50 œuvres pour des compagnies de danse au Canada et dans le monde entier. Elle est la directrice artistique fondatrice de la compagnie Kidd Pivot de Vancouver, reconnue mondialement pour ses hybridations radicales entre la danse et le théâtre, assemblées avec un sens aigu de l’esprit et de l’invention. Mme Pite est connue pour ses œuvres qui abordent courageusement des thèmes aussi difficiles et complexes que les traumatismes, la toxicomanie, les conflits, la conscience et la mortalité. Sa vision audacieuse et originale lui a valu une reconnaissance internationale et a inspiré toute une génération d’artistes de la danse.
Crystal Pite est née à Terrace, en Colombie-Britannique, et a grandi à Victoria. Elle a commencé sa carrière de danseuse comme membre de la compagnie du Ballet British Columbia (Ballet BC), puis du Ballett Frankfurt de William Forsythe. Elle a fait ses débuts de chorégraphe en 1990 au Ballet BC, et depuis, elle a créé des œuvres pour des compagnies aussi prestigieuses que le Royal Ballet, le Ballet de l’Opéra de Paris, le Nederlands Dans Theater, le Ballet Cullberg, le Ballett Frankfurt, le Ballet national du Canada, Ballets Jazz Montréal (chorégraphe résidente de 2001 à 2004) et le Cedar Lake Contemporary Ballet. Elle a également collaboré avec l’Electric Company Theatre et Robert Lepage, et est actuellement chorégraphe associée du Nederlands Dans Theater, artiste de danse associée du Centre national des Arts du Canada et artiste associée du Sadler’s Wells à Londres.
En 2002, elle a créé Kidd Pivot, une compagnie qui s’efforce de distiller et de traduire des questions universelles en œuvres d’art qui nous relient à des parties profondes et essentielles de l’humanité.
“La question de savoir ce qui nous touche traverse tout mon travail”, dit-elle.
Kidd Pivot effectue des tournées internationales avec des œuvres acclamées par la critique telles que Betroffenheitet, Revisor (toutes deux co-créées avec le dramaturge Jonathon Young), The Tempest Replica, Dark Matters, Lost Action et The You Show.
En 2008, Crystal Pite a participé au programme inaugural de mentorat des GGPAA en tant que protégée de Veronica Tennant, lauréate des GGPAA en 2004 et ancienne première danseuse du Ballet national du Canada.
Crystal Pite est membre de l’Ordre du Canada. Parmi les autres prix et distinctions qu’elle a reçus, mentionnons le prix Benois de la Danse, le Prix Jacqueline-Lemieux du Conseil des arts du Canada, le Grand Prix de la danse de Montréal, deux Critics’ Circle Dance Awards du Royaume-Uni, quatre prix Laurence Olivier et un doctorat honorifique de l’Université Simon Fraser.
Canadian theatre artist Jonathon Young is playwright-in-residence at Kidd Pivot and a core artist of Electric Company Theatre, where he has created and performed in over 20 original productions: Tear the Curtain! (Arts Club Theatre, Canadian Stage), No Exit (American Conservatory Theatre), Betroffenheit (international tour). He has worked as an actor on stages across Canada : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company/ Luminato Festival), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). In addition to Betroffenheit and Revisor, Jonathon collaborated with Crystal Pite on two productions for Nederlands Dans Theater (Parade and The Statement). Jonathon is the recipient of an Olivier Award and the UK National Dance Award.
Artiste de théâtre canadien, Jonathon Young est dramaturge en résidence à la compagnie Kidd Pivot et artiste principal à l’Electric Company Theatre, où il a collaboré à la création et à l’interprétation de plus de 20 productions originales, dont : Tear the Curtain! (Arts Club Theatre et Canadian Stage), No Exit (American Conservatory Theatre) et Betroffenheit (tournée internationale). Jonathon a également travaillé partout au Canada en tant qu’acteur indépendant. Parmi ses récents projets, on compte : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company et Festival Luminato), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). En plus de Betroffenheit et Revisor, Jonathon a collaboré avec Crystal Pite sur deux projets pour le Nederlands Dans Theatre : Parade et The Statement. Jonathon a reçu le prix Olivier et le National Dance Award du Royaume-Uni.
In a choreographic career spanning three decades, Crystal Pite has created more than 50 works for dance companies in Canada and around the world. She is the founding artistic director of the Vancouver-based company Kidd Pivot, world-renowned for radical hybrids of dance and theatre that are assembled with a keen sense of wit and invention. Crystal is known for works that courageously address such challenging and complex themes as trauma, addiction, conflict, consciousness, and mortality; her bold and original vision has earned her international acclaim and inspired an entire generation of dance artists.
Crystal Pite was born in Terrace, BC, and grew up in Victoria. She began her dance career as a company member of Ballet British Columbia (Ballet BC), then William Forsythe’s Ballett Frankfurt. She made her choreographic debut in 1990 at Ballet BC, and since then has created works for such prominent companies as The Royal Ballet, The Paris Opera Ballet, Nederlands Dans Theater, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Ballets Jazz Montréal (resident choreographer 2001–04), and Cedar Lake Contemporary Ballet. She has also collaborated with Electric Company Theatre and Robert Lepage, and is currently Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist of Sadler’s Wells in London.
In 2002, she formed Kidd Pivot, a company that strives to distill and translate universal questions into artworks that connect us to deep and essential parts of humanity.
“Running through all of my work is the question of what moves us,” she says. Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co-created with playwright Jonathon Young), The Tempest Replica, Dark Matters, Lost Action and The You Show. In 2008, Crystal Pite participated in the inaugural GGPAA Mentorship Program as the protégée of 2004 GGPAA laureate Veronica Tennant, former principal dancer of the National Ballet of Canada.
Crystal Pite is a Member of the Order of Canada. Her other awards and honours include the Benois de la Danse, Canada Council Jacqueline Lemieux Prize, Grand Prix de la danse de Montréal, two UK Critics’ Circle Dance Awards, four Laurence Olivier Awards, and an honorary doctorate from Simon Fraser University.
Writer/DirectorJonathon Young
Canadian theatre artist Jonathon Young is playwright-in-residence at Kidd Pivot and a core artist of Electric Company Theatre, where he has created and performed in over 20 original productions: Tear the Curtain! (Arts Club Theatre, Canadian Stage), No Exit (American Conservatory Theatre), Betroffenheit (international tour). He has worked as an actor on stages across Canada : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company/ Luminato Festival), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). In addition to Betroffenheit and Revisor, Jonathon collaborated with Crystal Pite on two productions for Nederlands Dans Theater (Parade and The Statement). Jonathon is the recipient of an Olivier Award and the UK National Dance Award.
Owen Belton lives in Vancouver, Canada and graduated from Simon Fraser University with a degree in Fine and Performing Arts (concentration Music). He has been composing for dance for the last 25 years as well as creating sound design and music for live theatre for the past 15 years. Owen has created pieces for The Paris Opera, Ballet Nuremberg, Electric Company Theatre, The Arts Club, as well as Nederlands Dans Theatre and Kidd Pivot.
Établi à Vancouver, Owen Belton a obtenu un diplôme en beaux-arts et arts de la scène (concentration musique) à l’Université Simon Fraser en 1993. Voilà maintenant 25 ans qu’il compose pour la danse, et 15 ans qu’il travaille en conception sonore et musicale pour le théâtre. Il signe des créations pour le Ballet de l’Opéra de Paris, le Ballet de Nuremberg, l’Electric Company Theatre, l’Arts Club, le Nederlands Dans Theater et, Kidd Pivot.
Alessandro is a Vancouver-based multi-disciplinary artist. He has previously collaborated with Kidd Pivot as a composer and sound designer on Revisor, Betroffenheit, and Tempest Replica. Other credits include: The Lady from the Sea, Trifles, Prince Caspian, On The Razzle and Middletown (Shaw Festival/Crow’s Theatre), To Kill A Mockingbird (Stratford Festival); The Great Leap, Angels in America: Millennium Approaches and Perestroika, Saint Joan, Master Class, The Penelopiad. (Arts Club); Coriolanus, Timon of Athens, The Tempest, Hamlet, Twelfth Night, Troilus and Cressida, Rosencrantz and Guildenstern are Dead, Bard on the Beach; King Lear, NAC; All the Way Home, Palace Grand, Electric Company; Vigil, Mark Taper Forum, A.C.T., Theatre Calgary; You used to call me Marie, Savage Society; Bunny, Search Party; Little Women, Theatre Calgary; The Madonna Painter, Centaur Theatre; The Miracle Worker, Equus, Vancouver Playhouse. Film and TV credits include: Donkeyhead, Netflix; Big Trees, NFB; Wait for Rain, Motion 58.
Alessandro Juliani est un artiste multidisciplinaire établi à Vancouver. Il a collaboré avec Kidd Pivot comme compositeur et concepteur sonore pour les productions Revisor, Betroffenheit et Tempest Replica. Autres collaborations au théâtre, The Lady from the Sea, Trifles, Prince Caspian, On The Razzle et Middletown (Festival Shaw et Crow’s Theatre), To Kill A Mockingbird (Festival de Stratford); The Great Leap, Angels in America: Millennium Approaches and Perestroika, Saint Joan, Master Class, The Penelopiad. (Arts Club); Coriolanus, Timon of Athens, The Tempest, Hamlet, Twelfth Night, Troilus and Cressida, Rosencrantz and Guildenstern are Dead (Bard on the Beach); King Lear (CNA); All the Way Home, Palace Grand, (Electric Company); Vigil, Mark Taper Forum, A.C.T. (Theatre Calgary); You used to call me Marie (Savage Society); Bunny, Search Party; Little Women (Theatre Calgary); The Madonna Painter (Centaur Theatre); The Miracle Worker, Equus (Vancouver Playhouse). Au cinéma et à la télévision : Donkeyhead (Netflix); Grands arbres (ONF); Wait for Rain (Motion 58).
Composition, Sound Design and Voice Director
Meg Roe
Meg’s work as an actor, director, composer, sound designer, and dramaturg has been seen across the Canada at Crows Theatre, Shaw Festival, Theatre Calgary, Canadian Stage, Factory Theatre, PuSh Festival, Alberta Theatre Projects, SoulPepper, Bard on the Beach, Theatre Junction, Citadel Theatre, Ruby Slippers Theatre, Electric Company Theatre, Blackbird Theatre, Theatre Aquarius, Arts Club, Belfry, Theatre SKAM, Manitoba Theatre Centre, Catalyst Theatre, RealWheels, Intrepid Theatre, Elbow Theatre, Vancouver Playhouse, Western Canada Theatre, National Arts Centre, Centaur Theatre, The Banff Centre, Yukon Arts Centre, Prairie Theatre Exchange, Why Not Theatre, Savage Society, vAct,Theatre Replacement, Rumble Theatre, The Cultch, Prairie Theatre Exchange, Luminato Festival, and internationally with the American Conservatory Theatre (San Francisco), Center Theater Group (Los Angeles), and as a collaborator with Crystal Pite's renowned dance company Kidd Pivot. She scored Esie Mensah’s short film Tessel, and Why Not Theatre’s feature What You Won’t Do For Love.
On a pu apprécié son travail d’actrice, metteure en scène, compositrice, conceptrice sonore et dramaturge un peu partout au Canada, notamment au Crows Theatre, au Festival Shaw, au Theatre Calgary, à la Canadian Stage, au Factory Theatre, au PuSh Festival, aux Alberta Theatre Projects, au SoulPepper, à Bard on the Beach, au Theatre Junction, au Citadel Theatre, au Ruby Slippers Theatre, à l’Electric Company Theatre, au Blackbird Theatre, au Theatre Aquarius, à l’Arts Club, au Belfry, au Theatre SKAM, au Manitoba Theatre Centre, au Catalyst Theatre, au RealWheels Theatre, à l’Intrepid Theatre, au Elbow Theatre, au Vancouver Playhouse Theatre, au Western Canada Theatre, au Centre national des Arts, au Centaur Theatre, au Centre Banff, au Centre des Arts du Yukon, au Prairie Theatre Exchange, au Why Not Theatre, à la Savage Society, au vAct, au Theatre Replacement, au Rumble Theatre, au Cultch, au Festival Luminato, et sur la scène internationale, notamment à l’American Conservatory Theatre (San Francisco), au Center Theater Group (Los Angeles), et en tant que collaboratrice avec Kidd Pivot, la compagnie de danse de renom de Crystal Pite. Elle a composé la musique originale du court métrage Tessel d’Esie Mensah, et de la pièce What You Won’t Do For Love du Why Not Theatre.
As a scenic designer Jay Gower Taylor has collaborated with Crystal Pite since 2008, creating onstage environments for works such as Figures inExtinction [1.0], The Statement, Parade, Plot Point, Frontier, Solo Echo, In the Event and Partita for 8 Dancers, for Nederlands Dans Theater 1; Emergence and Angels’ Atlas (a co-production with Zurich Ballet) for the National Ballet of Canada; Polaris for Sadler’s Wells; The Seasons’ Canon and Body and Soul for The Paris Opera Ballet; and Flight Pattern / Light of Passage for The Royal Ballet. For Pite’s own company, Kidd Pivot, he designed Dark Matters, The Tempest Replica, Betroffenheit, and most recently, Revisor.
Comme scénographe, Jay Gower Taylor collabore avec Crystal Pite depuis 2008, créant des environnements scéniques pour des productions comme Figures in Extinction [1.0], The Statement, Parade, Plot Point, Frontier, Solo Echo, In the Event et Partita for 8 Dancers (Nederlands Dans Theater 1); Emergence et Angels’ Atlas (Ballet de Zurich et Ballet national du Canada); Polaris (Sadler’s Wells de Londres); The Seasons’ Canon et Body and Soul (Ballet de l’Opéra de Paris); et Flight Pattern / Light of Passage (Royal Ballet de Londres). Pour la compagnie de Crystal Pite, Kidd Pivot, il a conçu la scénographie des œuvres Dark Matters,The Tempest Replica, Betroffenheit et, plus récemment, Revisor.
Nancy Bryant works widely as a designer in dance, theatre, opera and film. Her home is on the west coast of Canada in Vancouver. Previous collaborations with Pite include Body and Soul and The Seasons’ Canon (Paris Opera), Flight Pattern (Royal Ballet), Figures in Extinction, Partita, Parade and Plot Point (Netherlands Dance Theater), Revisor, The Tempest Replica (Kidd Pivot) and Betroffenheit (Kidd Pivot/Electric Co.), Angels’ Atlas (National Ballet of Canada / Zurich Opera House), and most recently, Light of Passage (Royal Ballet / Norwegian National Ballet). Bryant’s work has brought her together with various teams of fellow designers, directors, writers and choreographers to theatres and production workshops across Canada, the USA, the UK and to Europe. Her approach to costume design has been influenced by her visual arts background and many years of exceptional collaborations with some of Canada’s most innovative and groundbreaking theatre artists.
Conceptrice de costumes reconnue, Nancy Bryant vit à Vancouver et dessine des costumes pour les artistes de la danse, du théâtre, de l’opéra et du cinéma. Parmi ses précédentes collaborations avec Crystal Pite, mentionnons Body and Soul et The Seasons’ Canon (Opéra de Paris), Flight Pattern (Royal Opera House), Partita, Parade et Plot Point (Nederlands Dans Theater), Revisor, The Tempest Replica (Kidd Pivot) et Betroffenheit (Kidd Pivot et Electric Company), Angels’ Atlas (Ballet national du Canada et Opéra de Zurich) et, plus récemment, Light of Passage (Royal Ballet et Ballet national de Norvège). Son travail l’a amenée à collaborer avec des artistes dans tous les domaines, conception, mise en scène, dramaturgie et chorégraphie, dans des théâtres et des ateliers de production des quatre coins du Canada, des États-Unis, du Royaume-Uni et de l’Europe. Son approche de la conception de costumes est influencée par son parcours en arts visuels et par ses nombreuses années de collaborations exceptionnelles avec des artistes de théâtre parmi les plus innovants et avant-gardistes au Canada.
Tom Visser has been working since 2004 as a lighting designer in productions by Johan Inger, Crystal Pite, Stijn Celis, Medhi Walerski, Peeping Tom and Alexander Ekman. His lighting designs have been seen in Nederlands Dans Theater, Royal Opera House, Sydney Dance Company and Norwegian National Opera and Ballet, among others. In addition to his work for the stage, Tom has created art installations and projects with interactive media.
Tom Visser travaille depuis 2004 en tant qu'éclairagiste et signe des éclairages originaux pour plusieurs chorégraphes, dont Johan Inger, Crystal Pite, Stijn Celis, Medhi Walerski, Peeping Tom et Alexander Ekman. Il a travaillé dans le secteur de la danse avec le Nederlands Dans Theater, le Royal Opera House, la Sydney Dance Company et le Norwegian National Opera and Ballet, entre autres. En plus de son travail pour les arts de la scène, Tom a créé des installations artistiques et des projets en médias interactifs.
Cybèle Young is a multidisciplinary artist and author best known for her intricate Japanese paper installations and children’s books. More recently, her practice has encompassed photography, ceramics, stop-motion film, video, and kinetic works. Young’s works form relationships where the mundane coincides with the surreal, and the ebb and flow of growth and regression reside on equal planes. Sculptures manifest as one-act plays, and large tableaux map clues to epic stories. She studied at the Ontario College of Art and Design, since having mounted over twenty solo and thirty group exhibitions, and has received multiple grants and awards, including Canada’s Governor General’s Award. Cybèle is represented by Forum Gallery NYC, and her books are published worldwide, currently with Penguin Random House.
Cybèle Young, artiste multidisciplinaire et auteure, est principalement connue pour ses installations de papier japonais élaborées et ses livres pour enfants. Plus récemment, sa pratique comprenait la photographie, la céramique, l’animation image par image, la vidéo et l’art cinétique. Des œuvres de Cybèle Young naissent des relations où le banal coïncide avec le surréel, et où les cycles de croissance et de régression se trouvent sur un pied d’égalité. Ses sculptures se manifestent en pièces de théâtre à un acte, et ses grands tableaux plantent les indices d’histoires épiques. Depuis ses études à l’École d’art et de design de l’Ontario, Cybèle Young a monté plus de 20 expositions solos et 30 expositions collectives, et s’est vu octroyer de multiples subventions et prix, dont un Prix du Gouverneur général du Canada. Elle est représentée par Forum Gallery à New York, et ses livres sont publiés partout dans le monde, actuellement par Penguin Random House.
Eric Chad is an lighting/projection artist and show control/integration specialist based in Vancouver, B.C. Eric’s work blends interactive elements, generative design, and live tracking into his love for natural forms. Eric’s recent credits include works with Emma Portner, Electric Company Theatre, Out Innerspace Dance Theatre, Crystal Pite, Action at a Distance, Joe Ink, Plastic Orchid Factory, Shay Kubler Radical System Art, Kidd Pivot, and Chuthis. Eric is one of the founding members, and the current Technical Director of Lobe Studio in Vancouver BC, the first permanent 4DSOUND venue in North America. Eric was also a primary designer on Sanctuary: The Dakota Bear Ancient Forest Experience, and The Canadian Pavilion at the Dubai Expo. Eric received his Master of Fine Arts from the University of British Columbia, and a Bachelor of Science from McGill University.
Établi à Vancouver, en Colombie-Britannique, Eric Chad est un concepteur de projections et d’éclairages, et un spécialiste des systèmes de commande de spectacles. Amoureux des formes naturelles, il s’intéresse plus particulièrement à la conception de projections interactives, à la conception générative, et au suivi de production en temps réel. Il a récemment travaillé avec Emma Portner, l’Electric Company Theatre, l’Out Innerspace Dance Theatre, Crystal Pite, Action at a Distance, Joe Ink, Plastic Orchid Factory, Shay Kubler Radical System Art, Kidd Pivot et Chuthis. Il est l’un des membres fondateurs et l’actuel directeur technique du Lobe Studio à Vancouver, la première salle 4DSound permanente en Amérique du Nord. Eric Chad est également l’un des principaux concepteurs de Sanctuary: The Dakota Bear Ancient Forest Experience, et du pavillon canadien à l’Expo 2020 de Dubaï. Il est titulaire d’une maîtrise en beaux-arts de l’Université de la Colombie-Britannique et d’un baccalauréat ès sciences de l’Université McGill.
Born in Québec, Eric has been on stage with Les Grands Ballets Canadiens, the Badisches Staatstheater Karlsruhe and Les Ballets Jazz de Montréal, as well as with Canadian contemporary dance icons such as La Fondation Jean-Pierre Perrault, Paul-André Fortier, Louise Lecavalier and Crystal Pite. Company member since 2004, Eric now collaborates with Kidd Pivot as associate artistic director, and stages Pite’s work on companies worldwide. Eric has served as guest teacher for several organizations as well as rehearsal director for Nederlands Dans Theater. He currently resides in Holland and devotes his spare time advocating for climate action in the dance world.
Originaire du Québec, Éric Beauchesne a dansé pour Les Grands Ballets Canadiens, le Badisches Staatstheater Karlsruhe et Les Ballets Jazz de Montréal, ainsi que pour les icônes de la danse contemporaine canadienne que sont La Fondation Jean-Pierre Perrault, Paul-André Fortier, Louise Lecavalier et Crystal Pite. Collaborant avec Kidd Pivot depuis 2004, il exerce désormais les fonctions de directeur artistique associé de la compagnie et monte des œuvres de Crystal Pite pour des compagnies du monde entier. Il a œuvré comme professeur invité pour différentes organisations, et comme répétiteur pour le Nederlands Dans Theater. Il habite présentement aux Pays-Bas, et consacre la plupart de ses temps libres à militer en faveur de l’action climatique dans le secteur de la danse.
Production Manager / Technical Director
Jeff Harrison
Jeff Harrison is a Vancouver-based, four-time Jessie Award-winning lighting designer for his work on Carousel Theatre’s Pharaoh Serket & the Lost Stone of Fire, Patrick Street Theatre’s Floyd Collins, Pi Theatre’s Blasted and Arts Club’s Hand to God. Other lighting credits include Pi Theatre’s Beautiful Man, Patrick Street Theatre’s Batboy the Musical and The Full Monty, Urban Ink’s Children of God, Arts Club’s Beneath Springhill, and NAC Indigenous Theatre’s The Unnatural and Accidental Women. Jeff is a member of the Associated Designers of Canada (IATSE ADC659).
Jeff Harrison est le lauréat de quatre prix Jessie pour ses conceptions d’éclairages dans les productions PharaohSerket & the Lost Stone of Fire (Carousel Theatre), Floyd Collins (Patrick Street Theatre), Blasted (Pi Theatre) et Hand to God (Arts Club). Il a également conçu les éclairages de Beautiful Man (Pi Theatre), Batboy the Musical et The Full Monty (Patrick Street Theatre), Children of God (Urban Ink), Beneath Springhill (Arts Club) et The Unnatural and Accidental Women (Théâtre autochtone du CNA). Jeff Harrison est membre de l’Association des designers canadiens (AIEST, section locale ADC659).
Born and raised in North Carolina, Brandon Lee Alley is a multi-hyphenate artist residing on the unceded territories of the Coast Salish Peoples: Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations. Brandon began his professional career with Hubbard Street 2 followed by one year with BODYTRAFFIC in LA. In 2015, he joined Ballet BC. After 5 seasons, he continued to perform and collaborate with numerous companies and artists within Vancouver such as Company 605, Idan Cohen and Rachel Meyer. In 2022, Brandon joined Kidd Pivot for Revisor and was a member of the final global tour. In 2019, Brandon co-founded Dance//Novella - a contemporary dance company based in Vancouver, Canada. In addition to creating dance, Brandon is also an Audio Engineer with a diploma from SAE North Vancouver. He has made several original scores for dance and is excited to continue developing his musical journey.
Originaire de la Caroline du Nord, Brandon Lee Alley est un artiste multidisciplinaire qui réside dans les territoires non cédés des Salish de la Côte : les nations Sḵwx̱wú7mesh (Squamish), Stó:lō et səl̓ílwətaʔɬ/Selilwitulh (Tsleil-Waututh), et xʷməθkʷəy̓əm (Musqueam). Brandon Alley a commencé sa carrière avec Hubbard Street 2, avant de passer une année avec BODYTRAFFIC à Los Angeles. En 2015, il s’est joint à Ballet BC. Après cinq saisons, il a continué de danser et de collaborer avec de multiples compagnies et artistes de Vancouver, dont Company 605, Idan Cohen et Rachel Meyer. Brandon Alley s’est ajouté à Kidd Pivot en 2022 pour Revisor et a participé à la dernière tournée mondiale. En 2019, il a cofondé Dance//Novella, une compagnie de danse contemporaine établie à Vancouver. En plus d’être créateur en danse, Brandon Alley est ingénieur du son, diplômé du SAE Institute à North Vancouver. Il a composé plusieurs œuvres musicales originales pour la danse et est ravi de continuer d’évoluer dans le domaine de la musique.
Livona Ellis was born in Vancouver on the unceded territories of thexwməθkwəyə̓m (Musqueam), Sḵwxw̱ú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. She has performed with Ballet BC (11 seasons), Buhnen Bern, Mascall Dance and Rachel Meyer. Livona has created works for Dances for a Small Stage, Dance Deck, Public Salon 2019, Contemporary Art Gallery Gala 2018, Arts Umbrella Season Finale, and Ballet BC Take Form. In 2017 she received the Vancouver Mayor's Arts Award for Emerging Artist and in 2023 received the inaugural Louise Bentall Award for Emerging Choreographer.
Livona joined Kidd Pivot in June 2023 and is currently collaborating with NYC based artist Rebecca Margolick on the creation of their full length duet “Fortress”.
Livona Ellis est née à Vancouver, en territoire non cédé des Premières Nations xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) et səl̓ílwətaʔɬ (Tsleil-Waututh). Elle a dansé avec le Ballet BC (11 saisons), Bühnen Bern, Mascall Dance et Rachel Meyer, et a créé des œuvres pour Dances for a Small Stage, The Dance Deck, Public Salon 2019, le gala 2018 de la Contemporary Art Gallery, le spectacle de clôture d’Umbrella et Take Form du Ballet BC. En 2017, elle a reçu le prix artistique du maire de Vancouver en tant qu’artiste émergente, et en 2023, le tout premier prix Louise-Bentall de la relève en chorégraphie. Livona Ellis s’est jointe à Kidd Pivot en juin 2023 et collabore actuellement avec l’artiste new-yorkaise Rebecca Margolick à la création d’un duo intégral intitulé Fortress.
Rakeem Hardy (they/them), originally from Toronto, Canada, received their BFA from the State University of New York at Purchase College. In 2020, they were the recipient of the Thayer Fellowship Award. Through their time at Purchase, they performed works by Ohad Naharin, Doug Varone, Sidra Bell, Norbert De La Cruz III, and Roderick George. Rakeem has had the pleasure of performing with A.I.M by Kyle Abraham, Loni Landon Dance Projects, and Gallim Dance. Rakeem joined Kidd Pivot in 2022.
Rakeem Hardy (iel), originaire de Toronto, a obtenu un baccalauréat en beaux-arts au Collège Purchase de l’Université d’État de New York. En 2020, Rakeem Hardy a reçu le Thayer Fellowship Award. Durant ses études à Purchase, l’artiste a interprété des œuvres d’Ohad Naharin, Doug Varone, Sidra Bell, Norbert De La Cruz III et Roderick George. Membre de Kidd Pivot depuis 2022, Rakeem Hardy a aussi eu le plaisir de jouer avec A.I.M, la compagnie de Kyle Abraham, ainsi que le Loni Landon Dance Project et Gallim Dance.
Gregory Lau was born in Honolulu, Hawaii where he began his training at Mid-Pacific Institute School of the Arts. After attending The Juilliard School, he moved to join Nederlands Dans Theater 2 in 2013 and went on to join Nederlands Dans Theater 1 in 2016. After leaving the Nederlands he went on to join Kidd Pivot in 2019. Gregory was featured in Doja Cat's 2021 VMAs performance. During his career he has helped to stage ballets for NDT2 and The Norwegian Opera & Ballet. He has been a recipient of the National Foundation for Advancement in the Arts Award in both Modern Dance and Ballet. He has also worked with choreographers such as Jiri Kylian, Crystal Pite, Ohad Naharin, Sharon Eyal, Camille A.Brown, Marco Goecke, Paul Lightfoot & Sol Leon, Hans Van Manen, Johan Inger, Medhi Walerski, Alexander Ekman, Imre & Marne Van Opstal and Bobbi Jean Smith.
Gregory Lau est né à Honolulu, à Hawaï, où il a commencé sa formation à la Mid-Pacific School of the Arts. Après un passage à l’École Juilliard, il a rejoint le Nederlands Dans Theater 2 (NDT2) en 2013, puis le Nederlands Dans Theater 1 en 2016. Après son départ du Nederlands, Gregory Lau s’est ajouté à Kidd Pivot en 2019. Il a participé à la prestation de Doja Cat aux VMA en 2021. Au fil de sa carrière, il a contribué à la mise en scène de ballets pour le NDT2 et l’Opéra et ballet de Norvège, et a remporté plusieurs prix en danse moderne et en ballet de la National Foundation for Advancement in the Arts. Il a par ailleurs travaillé avec de nombreux chorégraphes, dont Jiri Kylian, Crystal Pite, Ohad Naharin, Sharon Eyal, Camille A. Brown, Marco Goecke, Paul Lightfoot et Sol León, Hans Van Manen, Johan Inger, Medhi Walerski, Alexander Ekman, Imre et Marne Van Opstal ainsi que Bobbi Jean Smith.
Doug is from New Hampshire USA, and is a graduate of The Juilliard School. He danced with Mikhail Baryshnikov's Hell's Kitchen Dance before joining the Batsheva Dance Company, where he worked with Ohad Naharin and Sharon Eyal from 2007 - 2012. Doug was then a founding member of Sharon's company, L-E-V, until 2015, and danced with the Tanztheater Wuppertal Pina Bausch from 2016 - 2019. He has also performed with the GoteborgsOperansDanskompani, Alan Lucien Øyen’s Winterguests, Aszure Barton, Adam Linder, Ella Rothschild, and in films such as Georgia Parris’ Mari for the BBC, and Apart and Voyeur, collaborations with dancer Silas Henriksen, filmmaker Cecilie Semec, and the Norwegian Opera and Ballet. Doug has been a choreographic assistant to Sharon Eyal, Adam Linder, and Bobbi Smith for companies such as Netherlands Dance Theater, Royal Swedish Ballet, Paris Opera Ballet, and Ballet de Lorraine. He is a recipient of the 2007 Movado Future Legends Award, nominated by Mikhail Baryshnikov, and a 2019 “Der Faust” German Theater Prize nominee for Dancer of the Year. Doug joined Kidd Pivot in 2018.
Doug Letheren est originaire du New Hampshire, aux États-Unis, et diplômé de l’École Juilliard. Il a dansé avec le collectif Hell’s Kitchen Dance de Mikhaïl Barychnikov avant de se joindre à la Batsheva Dance Company, où il a œuvré avec Ohad Naharin et Sharon Eyal de 2007 à 2012. Il a aussi été l’un des membres fondateurs de la compagnie de Sharon Eyal, L-E-V, qu’il a quittée en 2015, avant de se joindre au Tanztheater Wuppertal Pina Bausch jusqu’en 2019. Il s’est par ailleurs produit avec la Göteborg Danskompani, Winter Guests d’Alan Lucien Øyen, Aszure Barton, Adam Linder et Ella Rothschild. Il a joué dans des films, dont Mari de Georgia Parris pour la BBC, et dans diverses collaborations, dont Apart et Voyeur, avec le danseur Silas Henriksen, la cinéaste Cecilie Semec ainsi que l’Opéra et ballet de Norvège. Doug Letheren a été assistant-chorégraphe de Sharon Eyal, d’Adam Linder et de Bobbi Smith pour diverses compagnies, dont le Nederlands Dans Theater, le Ballet royal de Suède, le Ballet de l’Opéra de Paris et le Ballet de Lorraine. Il a remporté le Movado Future Legends Award en 2007, sur la recommandation de Mikhaïl Barychnikov, et a été cité aux prix Der Faust du théâtre allemand dans la catégorie Interprète de danse de l’année. Il a intégré la compagnie Kidd Pivot en 2018.
Rena Narumi was born in Japan. She trained at Centre d’artchoregraphique Franco-Japonais in Paris France and Arts Umbrella dance graduate program in Vancouver BC under the direction of Artemis Gordon and Lynn Shepard. After her graduation, she performed with ProArteDanza, Hessischen Staatstheaters Wiesbaden, Royal Swedish Ballet (RSB), and Nederlands Dans Theater 1 (NDT1). She has worked with renowned choreographers such as Mats Ek, Crystal Pite, Ohad Naharin, Sol Leon/Paul Lightfoot, Johan Ingar, Alexander Ekman, Orjan Andersson, Sharon Eyal, Franck Chartier/Gabriela Carrizo (Peeping Tom), Emily Molnar, and more. With RSB in Sweden, she performed the main role of Juliet in Juliet and Romeo by Mats Ek in many theaters, including Paris Opera Garnier in Paris and Sadler’s Wells Theater in London. With NDT1, she traveled all over the world to perform. She was an apprentice with Kidd Pivot for season 2010/2011, part of the artistic team for The You Show. Rena is delighted to be rejoined with Kidd Pivot.
Née au Japon, Rena Narumi a été formée au Centre d’art chorégraphique franco-japonais de Paris, en France, et dans le cadre du programme d’études supérieures en danse Arts Umbrella, à Vancouver (C.-B.), sous la direction d’Artemis Gordon et Lynn Shepard. Après avoir obtenu son diplôme, elle s’est produite avec ProArteDanza, l’Hessischen Staatstheaters Wiesbaden, le Ballet royal de Suède (BRS), et le Nederlands Dans Theater 1 (NDT1). Elle a collaboré avec des chorégraphes aussi renommés que Mats Ek, Crystal Pite, Ohad Naharin, Sol Leon et Paul Lightfoot, Johan Inger, Alexander Ekman, Orjan Andersson, Sharon Eyal, Franck Chartier et Gabriela Carrizo (Peeping Tom), Emily Molnar et bien d’autres. Avec le BRS, en Suède, elle a interprété Juliette dans Juliet and Romeo de Mats Ek dans de nombreux théâtres, dont le Palais Garnier à Paris et le Sadler’s Wells Theatre à Londres. Avec le NDT1, elle s’est produite sur les scènes du monde entier. Elle a œuvré comme apprentie avec Kidd Pivot pendant la saison 2010–2011, au sein de l’équipe artistique de The You Show. Elle est ravie de travailler une fois de plus avec la compagnie.
Ella Rothschild was born in Israel and is a choreographer, multidisciplinary artist and dancer. Since 2010, Rothschild has been creating her own works in collaboration with various artists from different disciplines. Her works include: Acord, 12 Postdated Checks, Judah, Jesus with Soy, Sal, Flood, Dood, IMO the mouth is redundant, Feed, Timeline, Futuristic Space, Unpair and Formula. Rothschild received the Rosenblum Performing-Arts Award by the city of Tel-Aviv for promising creator of 2016, as well as the ministry cultural award. In 2017 she received the Israeli Ministry of Culture Award for the best solo performer. From 2013 to 2023, Ella created and performed twelve of her works in Israel, Europe, Japan, and the US. In 2020 Ella received a residency at Baryshnikov art center (NYC) and was named an artist in residence in the Suzanne Dellal Centre’s inaugural residency program where she created her work Pigulim. In 2021 Ella created Summer snow, on the edge of nowhere, and A Year Without Summer which are a trilogy of artworks for the Batsheva Dance Company. This year Ella created Milk teeth as part of Kammerballetten festival in Copenhagen and is creating for the Royal Ballet of Flanders a new creation for Stravinsky music Petrushka, which will premiere this in December.
Née en Israël, Ella Rotschild est chorégraphe, artiste multidisciplinaire et danseuse. Depuis 2010, elle crée ses propres pièces en collaboration avec des artistes issus de différentes disciplines. Elle signe notamment : Acord; 12 Postdated Checks; Judah, Jesus with Soy; Sal; Flood; Dood; IMO the mouth is redundant; FEED; Timeline; Futuristic Space; Unpair; et Formula. En 2016, elle a reçu le prix Rosenblum pour les arts de la scène de la ville de Tel-Aviv, à titre de créatrice la plus prometteuse, ainsi que le Prix du ministère de la Culture d’Israël. En 2017, le ministère israélien de la Culture lui a décerné le prix de la meilleure interprétation solo. De 2013 à 2023, Ella Rothschild a créé et interprété douze de ses œuvres en Israël, en Europe, au Japon et aux États-Unis. En 2020, elle a obtenu une résidence au Baryshnikov Arts Center (New York) et a été nommée artiste en résidence à la première édition du programme de résidence du Suzanne Dellal Centre, où elle a créé l’œuvre Pigulim. En 2021, elle a imaginé pour la Batsheva Dance Company une trilogie composée de Summer Snow, On The Edge Of Nowhere et A Year Without Summer, et cette année, elle a créé Milk Teeth dans le cadre du Festival Kammerballetten de Copenhague. Ella Rothschild travaille actuellement à une nouvelle création sur la musique de Petrouchka, de Stravinsky, pour le Ballet royal de Flandre; la première aura lieu en décembre.
Renée was born in Saskatchewan and moved to Vancouver in 2008. Since graduating from Modus Operandi contemporary dance program in 2012, she has performed in several works with Out Innerspace Dance Theatre, Joshua Beamish/MOVETHECOMPANY, Company 605, Wen Wei Dance, Mascall Dance, Kinesis Somatheatro & EDAM. She joined Kidd Pivot in 2018.
Renée Sigouin est née en Saskatchewan, et a déménagé à Vancouver en 2008 pour suivre le programme de formation postsecondaire en danse contemporaine Modus Operandi. Depuis l’obtention de son diplôme en 2012, elle s'est produite pour les collectifs Out Innerspace Dance Theatre, Joshua Beamish et MOVETHECOMPANY, Company 605, Wen Wei Dance, Mascall Dance, Kinesis Somatheatro et EDAM. Elle a intégré la compagnie Kidd Pivot en 2018.
Ryan Beil is a comedian, actor and writer based in Vancouver, BC. He holds a BFA in acting from the University of British Columbia and has become a fixture on local stages. He has won two Jessie Richardson Theatre Awards. Selected Theatre Credits: Angels In America, Parts 1&2 - Arts Club. Twelfth NIght / Comedy of Errors - Bard On The Beach. Billy Bishop Goes To War - Arts Club/Belfry. Undeveloped Sound - Electric Company. Ryan is also involved in the world of Film and Television, with two Leo Awards to his name. Selected Film/TV Credits: iZombie - The CW Mech X4 - Disney The X-Files - FOX Trial & Error - ABC You, Me, Her - eOne, Are You Afraid of the Dark, Nickelodeon, Turner & Hooch, Disney. You can also catch Ryan every Sunday at the Fox Cabaret in Vancouver, performing with The Sunday Service: The Legendary improv comedy troupe he co-founded.
Ryan Beil est un acteur et un écrivain établi à Vancouver, en Colombie-Britannique. Très présent sur les scènes locales, il détient un baccalauréat en beaux-arts (art dramatique) de l’Université de la Colombie-Britannique. Il a remporté de nombreux prix, dont deux prix Jessie Richardson. Au théâtre, on a pu le voir dans Angels In America, Parts 1&2 (Arts Club), Twelfth Night / Comedy of Errors (Bard On The Beach), Billy Bishop Goes To War (Arts Club et Belfry) et Undeveloped Sound (Electric Company). Lauréat de deux prix Leo, il a incarné plusieurs personnages au petit comme au grand écran dans iZombie, Mech-X4 (The CW), The X-Files (Disney), Trial & Error (Fox), You, Me, Her (ABC), Are You Afraid of the Dark (eOne), Nickelodeon et Turner & Hooch (Disney). On le trouve aussi tous les dimanches au Fox Cabaret de Vancouver, où il se produit avec The Sunday Service, la légendaire troupe d’improvisation qu’il a cofondée.
Marci T. House is an American/Canadian (Canerican) actress of stage, voice, film/tv, and also a producer. Hailing from the south-side of the city of Chicago, she now makes her home in Vancouver, BC in Canada. Marci is a NAACP Theater Award (Los Angeles) & Jessie Theatre Award (Vancouver, BC) nominated actress and set designer, and now works as a professional actor in both the U.S., and Canada. A graduate of Louisiana Tech University (B. Of Arch.), and the University of Illinois Chicago (MUPP), where she not only studied acting, but also studied architecture and urban planning, policy & design. Marci has also had a vast array of theatrical training with Diane Hardin (Young Actors Space-LA), Bill Duke (Actor’s Boot Camp-Miami & LA), Michele Lonsdale Smith (Lyric School of Acting-Vancouver, BC), and Susan Batson, Greg Braun, and Christian Contreras (Black Nexxus/Susan Batson Studios/New Collective Acting Studio –LA, NYC & Vancouver).
Marci T. House est une actrice américano-canadienne de la scène, du doublage, du cinéma et de la télévision ainsi qu’une réalisatrice. Originaire du sud de Chicago, elle habite maintenant à Vancouver, en Colombie-Britannique. Elle a été finaliste aux NAACP Theater Awards (Los Angeles) et aux Jessie Richardson Theatre Awards (Vancouver) comme actrice et comme scénographe, et travaille maintenant comme actrice professionnelle aux États-Unis et au Canada. Diplômée de la Louisiana Tech University (baccalauréat en architecture) et de l’Université de l’Illinois à Chicago (maîtrise en urbanisme), Marci T. House a non seulement étudié l’art dramatique, mais aussi l’architecture et l’urbanisme. Elle cumule par ailleurs un vaste éventail de formations en théâtre auprès de Diane Hardin (Young Actors Space – Los Angeles), Bill Duke (Actor’s Boot Camp – Miami et Los Angeles), Michèle Lonsdale Smith (Lyric School of Acting – Vancouver) ainsi que Susan Batson, Greg Braun et Christian Contreras (studios Black Nexxus, Susan Batson et New Collective – Los Angeles, New York et Vancouver).
Alessandro is a Vancouver-based multi-disciplinary artist. He has previously collaborated with Kidd Pivot as a composer and sound designer on Revisor, Betroffenheit, and Tempest Replica. Other credits include: The Lady from the Sea, Trifles, Prince Caspian, On The Razzle and Middletown (Shaw Festival/Crow’s Theatre), To Kill A Mockingbird (Stratford Festival); The Great Leap, Angels in America: Millennium Approaches and Perestroika, Saint Joan, Master Class, The Penelopiad. (Arts Club); Coriolanus, Timon of Athens, The Tempest, Hamlet, Twelfth Night, Troilus and Cressida, Rosencrantz and Guildenstern are Dead, Bard on the Beach; King Lear, NAC; All the Way Home, Palace Grand, Electric Company; Vigil, Mark Taper Forum, A.C.T., Theatre Calgary; You used to call me Marie, Savage Society; Bunny, Search Party; Little Women, Theatre Calgary; The Madonna Painter, Centaur Theatre; The Miracle Worker, Equus, Vancouver Playhouse. Film and TV credits include: Donkeyhead, Netflix; Big Trees, NFB; Wait for Rain, Motion 58.
Alessandro Juliani est un artiste multidisciplinaire établi à Vancouver. Il a collaboré avec Kidd Pivot comme compositeur et concepteur sonore pour les productions Revisor, Betroffenheit et Tempest Replica. Autres collaborations au théâtre, The Lady from the Sea, Trifles, Prince Caspian, On The Razzle et Middletown (Festival Shaw et Crow’s Theatre), To Kill A Mockingbird (Festival de Stratford); The Great Leap, Angels in America: Millennium Approaches and Perestroika, Saint Joan, Master Class, The Penelopiad. (Arts Club); Coriolanus, Timon of Athens, The Tempest, Hamlet, Twelfth Night, Troilus and Cressida, Rosencrantz and Guildenstern are Dead (Bard on the Beach); King Lear (CNA); All the Way Home, Palace Grand, (Electric Company); Vigil, Mark Taper Forum, A.C.T. (Theatre Calgary); You used to call me Marie (Savage Society); Bunny, Search Party; Little Women (Theatre Calgary); The Madonna Painter (Centaur Theatre); The Miracle Worker, Equus (Vancouver Playhouse). Au cinéma et à la télévision : Donkeyhead (Netflix); Grands arbres (ONF); Wait for Rain (Motion 58).
Meg’s work as an actor, director, composer, sound designer, and dramaturg has been seen across the Canada at Crows Theatre, Shaw Festival, Theatre Calgary, Canadian Stage, Factory Theatre, PuSh Festival, Alberta Theatre Projects, SoulPepper, Bard on the Beach, Theatre Junction, Citadel Theatre, Ruby Slippers Theatre, Electric Company Theatre, Blackbird Theatre, Theatre Aquarius, Arts Club, Belfry, Theatre SKAM, Manitoba Theatre Centre, Catalyst Theatre, RealWheels, Intrepid Theatre, Elbow Theatre, Vancouver Playhouse, Western Canada Theatre, National Arts Centre, Centaur Theatre, The Banff Centre, Yukon Arts Centre, Prairie Theatre Exchange, Why Not Theatre, Savage Society, vAct,Theatre Replacement, Rumble Theatre, The Cultch, Prairie Theatre Exchange, Luminato Festival, and internationally with the American Conservatory Theatre (San Francisco), Center Theater Group (Los Angeles), and as a collaborator with Crystal Pite's renowned dance company Kidd Pivot. She scored Esie Mensah’s short film Tessel, and Why Not Theatre’s feature What You Won’t Do For Love.
On a pu apprécié son travail d’actrice, metteure en scène, compositrice, conceptrice sonore et dramaturge un peu partout au Canada, notamment au Crows Theatre, au Festival Shaw, au Theatre Calgary, à la Canadian Stage, au Factory Theatre, au PuSh Festival, aux Alberta Theatre Projects, au SoulPepper, à Bard on the Beach, au Theatre Junction, au Citadel Theatre, au Ruby Slippers Theatre, à l’Electric Company Theatre, au Blackbird Theatre, au Theatre Aquarius, à l’Arts Club, au Belfry, au Theatre SKAM, au Manitoba Theatre Centre, au Catalyst Theatre, au RealWheels Theatre, à l’Intrepid Theatre, au Elbow Theatre, au Vancouver Playhouse Theatre, au Western Canada Theatre, au Centre national des Arts, au Centaur Theatre, au Centre Banff, au Centre des Arts du Yukon, au Prairie Theatre Exchange, au Why Not Theatre, à la Savage Society, au vAct, au Theatre Replacement, au Rumble Theatre, au Cultch, au Festival Luminato, et sur la scène internationale, notamment à l’American Conservatory Theatre (San Francisco), au Center Theater Group (Los Angeles), et en tant que collaboratrice avec Kidd Pivot, la compagnie de danse de renom de Crystal Pite. Elle a composé la musique originale du court métrage Tessel d’Esie Mensah, et de la pièce What You Won’t Do For Love du Why Not Theatre.
Gabrielle Rose is a veteran award winning film, television and theatre actress with more than 50 years experience . Most recently she has appeared in a number of series for television such as Night Agent, Virgin River, and Yellow Jackets. Her large resume of theatre roles includes Martha in ‘Who’s Afraid of Virginia Woolf, Amanda in ‘The Glass Menagerie’, Mrs. Malaprop in ‘The Rivals’ Queen Elizabeth in ‘Elizabeth Rex. Gabrielle has received numerous awards for her work in film, TV and theatre. She has also received several lifetime achievement awards: The Sam Payne, Woman of the Year for Vancouver Women in Film, Vancouver Critics lifetime achievement, the Lorena Gale Woman of Distinction, and has a star in the Vancouver Walk of Fame. This past year she worked with Bruce Sweeney on his latest film, “She Talks to Strangers” which will premiere at the Whistler Film Festival. Currently Gabrielle is working on an indie feature called “Hanne and the High Sea” and she will be onstage in the new year at the Belfry Theatre in Christine Quintana’s new play ‘As Above’ directed by Meg Roe.
Gabrielle Rose, actrice de cinéma, de télévision et de théâtre primée, cumule plus de 50 ans d’expérience. Dernièrement, elle a joué dans plusieurs séries télévisées, dont The Night Agent, Virgin River et Yellowjackets. Elle a de nombreux rôles à son actif au théâtre, ayant notamment incarné Martha dans Who’s Afraid of Virginia Woolf, Amanda dans The Glass Menagerie, Mme Malaprop dans The Rivals et la reine Elizabeth dans Elizabeth Rex. Gabrielle Rose a reçu de nombreux prix pour son jeu d’actrice au cinéma, à la télévision et au théâtre ainsi que plusieurs distinctions pour l’ensemble de sa carrière : le prix Sam Payne, le titre de femme de l’année de Women in Film & Television Vancouver, le prix du Vancouver Film Critics Circle pour l’ensemble de son œuvre et le prix Lorena Gale Woman of Distinction, sans oublier une étoile à son nom sur la Vancouver Walk of Fame. Dans la dernière année, elle a travaillé avec Bruce Sweeney sur le film She Talks to Strangers, qui sera présenté en primeur au Festival du film de Whistler. À l’heure actuelle, Gabrielle Rose travaille sur un film indépendant intitulé Hanne on the High Sea, et l’an prochain, elle montera sur les planches du Belfry Theatre pour la nouvelle pièce de Christine Quintana, As Above, mise en scène par Meg Roe.
Amanda Sum (she/her) is a performer and creator who dances between theatre and music. Amanda has collaborated on many interdisciplinary theatre based works, which have brought her to perform and present works at the Smush Gallery (Jersey City) at On The Boards (Seattle), Fury Factory Festival of Ensemble and Devised Theatre (San Francisco), and Summerworks (Toronto). As an actor, Amanda’s recent credits include 4 seasons of the East Van Panto (Theatre Replacement), and Sense and Sensibility (The Arts Club). Amanda's debut indie-pop album, New Age Attitudes, was released in the fall of 2022. Her music video, Different Than Before was JUNO-Nominated for Music Video of the Year, and won the SXSW Music Video Jury Award. As Theatre Replacement’s COLLIDER Artist, Amanda created New Age Attitudes: Live in Concert. Part pop-up book, part performance, this experimental theatre piece premiered in the spring of 2023, and will tour in 2024. Amanda holds a BFA from SFU.
Amanda Sum est une interprète et créatrice qui danse entre le théâtre et la musique. Elle a collaboré à de nombreux projets interdisciplinaires à base théâtrale, ce qui l’a amenée à jouer et à présenter des œuvres à la Smush Gallery (Jersey City), à On The Boards (Seattle), au Fury Factory Festival of Ensemble and Devised Theatre (San Francisco) et à SummerWorks (Toronto). En tant qu’actrice, Amanda Sum a récemment participé à quatre saisons du programme East Van Panto (Theatre Replacement) et à Sense and Sensibility (Arts Club). Elle a par ailleurs lancé un premier album indie-pop, intitulé New Age Attitudes, à l’automne 2022. Son vidéoclip Different Than Before a été en lice pour le prix JUNO du vidéoclip de l’année et a remporté le prix du jury à SXSW. À titre d’artiste du programme COLLIDER de Theatre Replacement, Amanda Sum a créé New Age Attitudes: Live in Concert. Mi-livre 3D, mi-performance, cette pièce de théâtre expérimentale a été présentée pour la première fois au printemps 2023 et fera l’objet d’une tournée en 2024. Amanda Sum est titulaire d’un baccalauréat en beaux-arts de l’Université Simon Fraser. Folies et nouvelles : @amanduhsum / www.amandasum.com.
Vincent’s favourite theatrical roles: West Side Story (Chino) Vancouver Opera, Beauty & the Beast (LeFou), Altar Boyz (Juan) Arts Club, and La Cage aux Folles (Jacob) Playhouse Theatre. Vincent’s voice work has been heard around the world in Disney’s Ice Age The Adventures of Buck Wild where he played Crash, the lovable possum, alongside Simon Pegg. Other recent releases: Kai in Lego NinjagoDragon’s Rising, Knuckles in Sonic Prime, and Megaman in Megaman Fully Charged. His television appearances include Love Hard, Arrow, Transporter The Series, and Fringe. Thank you to Crystal, Jonathon, and Meg for asking me to be a part of this show.
Les rôles préférés de Vincent Tong au théâtre : Chino dans West Side Story à l’Opéra de Vancouver, LeFou dans Beauty & the Beast, Juan dans Altar Boyz à l’Arts Club et Jacob dans La Cage aux folles au Playhouse Theatre. La voix de Vincent Tong a été entendue tout autour du globe dans le film The Ice Age Adventures of Buck Wild (L’Ère de glace : Les aventures de Buck Wild, en VF), dans lequel il incarne l’attachant opossum Crash aux côtés de Simon Pegg. Autres projets récents : Kai dans Lego Ninjago: Dragons Rising, Knuckles dans Sonic Prime et Mega Man dans Mega Man: Fully Charged. Vincent Tong est aussi présent à la télévision dans Love Hard, Arrow, Transporter: The Series et Fringe. Merci à Crystal, Jonathon et Meg de m’avoir invité à participer à ce projet.
Canadian theatre artist Jonathon Young is playwright-in-residence at Kidd Pivot and a core artist of Electric Company Theatre, where he has created and performed in over 20 original productions: Tear the Curtain! (Arts Club Theatre, Canadian Stage), No Exit (American Conservatory Theatre), Betroffenheit (international tour). He has worked as an actor on stages across Canada : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company/ Luminato Festival), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). In addition to Betroffenheit and Revisor, Jonathon collaborated with Crystal Pite on two productions for Nederlands Dans Theater (Parade and The Statement). Jonathon is the recipient of an Olivier Award and the UK National Dance Award.
Artiste de théâtre canadien, Jonathon Young est dramaturge en résidence à la compagnie Kidd Pivot et artiste principal à l’Electric Company Theatre, où il a collaboré à la création et à l’interprétation de plus de 20 productions originales, dont : Tear the Curtain! (Arts Club Theatre et Canadian Stage), No Exit (American Conservatory Theatre) et Betroffenheit (tournée internationale). Jonathon a également travaillé partout au Canada en tant qu’acteur indépendant. Parmi ses récents projets, on compte : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company et Festival Luminato), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). En plus de Betroffenheit et Revisor, Jonathon a collaboré avec Crystal Pite sur deux projets pour le Nederlands Dans Theatre : Parade et The Statement. Jonathon a reçu le prix Olivier et le National Dance Award du Royaume-Uni.
World Premiere: October 26, 2023 Vancouver Playhouse, Vancouver, Canada
Approximately 90 minutes. No intermission.
by Crystal Pite and Jonathon Young
Produced by
Kidd Pivot
Choreographed and Directed by Crystal Pite
Written and Directed by Jonathon Young
Composition and Sound Design Owen Belton
Alessandro Juliani
Meg Roe
Scenic Design Jay Gower Taylor
Costume Design Nancy Bryant
Lighting Design Tom Visser
Video Design Cybèle Young
Show Control and Sound Programmer Eric Chad
Assistant to the Creators Eric Beauchesne
Additional Music Tchaikovsky, Piano Concerto No. 1 in B-Flat Minor, Op. 23, TH. 55 - I. Allegro non troppo e molto maestoso - Allegro con spirito performed by Alice Sara Ott · Münchner Philharmoniker · Thomas Hengelbrock ℗ 2010 Deutsche Grammophon GmbH, Berlin
Performers Brandon Alley as Woody Livona Ellis as Gail Rakeem Hardy as Boyd Gregory Lau as Dave Doug Letheren as Shaun Rena Narumi as Bonnie Ella Rothschild as Mae Renée Sigouin as Glenda
Voice Director Meg Roe
Voices Ryan Beil as Dave Marci T. House as Gail Alessandro Juliani as Boyd Meg Roe as Bonnie Gabrielle Rose as Glenda Amanda Sum as Mae Vincent Tong as Woody Jonathon Young as Shaun
Production Manager / Technical Director
Jeff Harrison
Stage Manager
Yvonne Yip
Audio and Show Control Operators
ilvs Strauss & Eric Chad
Wardrobe Supervisor
Donnie Tejani
Set Construction
Great Northern Way Scene Shop
Scenic Artists
Charlie Easton
Barry Kootchin
Sharon Sloan Patrick Spavor
Prop Builders Monica Emme
Jay Gower Taylor
Heather Young
Jen Hiebert
Aluminum Armour Rob Valentine & Valentine Armouries
Cutter Janet Dundas
Costume Assistants and Builders
Alaia Hamer
Nicola Ryal
Alice Devonshire
Stitchers
Tracey Gauvin
Eloise Pons
Jayme Cline
Dyer and Builder
Tessa Armstrong
Rehearsal Assistant
Nasiv Kaur Sall
Executive Producer
Jim Smith
Producer
Francesca Piscopo
For full bios and photos of dancers, voice actors, and crew, please visit kiddpivot.org
Kidd Pivot would like to thank:
Artemis Gordon, Barry Kootchin, Charlie Easton, Kevin Macdonald, Niko Taylor, Arts Umbrella, Ballet BC, The Dance Centre, Studio 58, Ostrom Climate, and the generous financial contributions from the Friends of Kidd Pivot.
Co-produced by Edinburgh International Festival (Edinburgh, UK), Sadler’s Wells (London, UK), Théâtre de la Ville (Paris, France), Centro Servizi Culturali Santa Chiara (Trento, Italy), National Arts Centre (Ottawa, Canada), Seattle Theatre Group (Seattle, US), Canadian Stage (Toronto, Canada), DanceHouse (Vancouver, Canada), Danse Danse (Montreal, Canada), Le Diamant (Quebec, Canada), Electric Company Theatre (Vancouver, Canada).
A special thanks to the Y.P. Heung Foundation, Zita and Mark Bernstein Family Foundation, and Bonnie Mah for their generous support.
Developed with support from the National Arts Centre’s National Creation Fund.
Kidd Pivot benefits from the support of BNP Paribas Foundation for the development and distribution of its projects
Kidd Pivot gratefully acknowledges the support of the Canada Council for the Arts, the Government of British Columbia, British Columbia Arts Council, City of Vancouver, and countless individual and business supporters.
KIDD PIVOT Company
Artistic Director
Crystal Pite
Associate Artistic Director
Eric Beauchesne
Playwright-in-Residence
Jonathon Young
Executive Director
Jim Smith*
Producer
FrancescaPiscopo*
Special Projects
Sabine Rouques*
Communications and Marketing Manager
Jonathan James*
Accounts Manager
Ann Hepper*
Production Manager
Jeff Harrison
Fundraising Associate & Company Manager on Tour
Brent Belsher
Fundraising Coordinator
Tammi Tsang*
Administration Assistant
Kevin Soo-Locsin*
Representation for Kidd Pivot Eponymous (Canada)
Menno Plukker Theatre Agent Inc. (International)
Menno Plukker, assisted by Magdalena Marszalek and Isaïe Richard
* Eponymous
Eponymous gratefully acknowledges the support of the Canada Council for the Arts.
KIDD PIVOT BOARD OF DIRECTORS
President
Ainslie Cyopik
Vice President
Barry McKinnon
Treasurer
Fiona Hanington
Secretary
Dory Dynna
Past President
Guy Riecken
Directors
Valerie Jerome
Derek Porter
NAC Dance Team
Executive Producer Caroline Ohrt
Senior Producer Tina Legari
Special Projects Coordinator and Assistant to the Executive Producer Mireille Nicholas
Company Manager Sophie Anka
Education Associate and Teaching Artist Siôned Watkins
Technical Director Brian Britton
Communications Strategist Alexandra Campeau
Marketing Strategist Marie-Chantale Labbé-Jacques
Marketing Strategist Marie-Pierre Chaumont
Official Hotel Partner
INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOYEES
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