It is a rare treat when a Torontonian can confidently exclaim that they have had the pleasure of relaxing and refreshing in the middle of frigid February. I am happy to announce that I had the opportunity to indulge in a proper quenching at the recent World Stage premiere of Brazilian dance troupe Grupo Corpo’s double bill Sem Mim & Ímã.
I’ve had a love affair with Latin America since I backpacked through South and Central in 2008. The region is known for its wild colour palette, seductive music, inspiring culinary scene and laid back and engaging sexual energy. I have not yet stepped foot in Brazil (it has been on my to do list for ages) but had the chance to fondle and flirt with its border during my adventure on the Argentinian side of Iguazu Falls.
It was pitch black when I found myself marching towards the water on Spadina Avenue in the bitter cold of winter. I was thrilled to have the opportunity to introduce my friend Andrew Archer to his first World Stage show that evening. We met at the Queen Quay Terminal and zoomed up the escalator to The Fleck Dance Theatre. The lights dimmed and a packed house held its breath…
Grupo Corpo’s double bill started with a performance of Ímã, a playful and smile inducing mad dash infused with Brazilian beats. Each dancer wore a pair of jeans, women dressed in colour-solid T’s while men mopped the floor topless. When I wasn’t distracted by the flash of man nipple I couldn’t help but feel I was watching an adrenalin driven Gap Jeans Commercial circa 1998. Ímã, meaning “magnet,” takes inspiration from the law of magnetism where dancers passionately come together and separate through solos, duos and smaller groups forming in a game of union and dispersion. Using seven-colour LED’s, an explosion of colour is created: violent, radical and exuberant. The soundtrack composed by Brazilian band +2, combines influences from bossa nova, ’70s afro-music and contemporary Japanese. The piece is best described as fun, whimsical and sexually charged. Sweat under your collar…
In Sem Mim, meaning “without me,” “tattooed” dancers merge the rhythm of the sea with the music of medieval Portugese-Galician chants. The original score is based on the celebrated “sea of Vigo song cycle.” The movement mimics the ebb and flow of waves in constant flux of advances and retreats. The set represents different landscapes and elements of the sea and mountains which is best showcased during a duet where a net drops from above and captures its dancers within. This piece is more subdued, a perfect lullaby.
At the end of each performance the audience lurched out of their seats and roared. Dancers chests heaved while they wiped the sweat from their brow revealing their smug mugs. Once I had clapped the palms of my hands into a right sting we headed to the reception where a Brazilian centric buffet featured a selection of croquettes (shrimp, chicken and cheese) and rice with a beef and bean stew. As the crowd sipped on beer and wine I felt like a fly on the wall snapping shots of Grupo Corpo’s athletic dancers. I may or may not have had a crush or two (or three or four).
With much trepidation I burst into the freezing midnight cold. Heading home I couldn’t help but make a mental note: if you ever hear people in Toronto complaining about the fact that “there is nothing to do in this city,” do them a favour and smack them in the face with a World Stage Program. The season offers a fantastic line up of curated talent from near and afar, so save yourself the flight to Rio and pay a visit to The Harbourfront Centre. Special thanks to Artistic Director Tina Rasmussen for inspiring us all to wake up and smell the feijoada.
