E-MOTIONS

What people said about "E-Motions"...

Review in the North Renfrew Times, November 25:

"E-Motions" delivers

by Argus

It's a common thing to hear said, just how much amazing talent there is in the North Renfrew area.

The Deep River Players' production of "E-Motions" last Thursday through Saturday at Childs Auditorium is just the latest example.

Home-grown expressionist modern dance theatre - who knew?

So right off the bat, let's extend a heartfelt congratulations to writer and director Kristen Glowa for having the creative vision behind "E-Motions" - and the courage to put that vision out there.

And of course, congratulations too to the Deep River Players for supporting her, and to the entire cast and crew for throwing themselves into it body and soul and bringing that vision to life.

For those who did not see "E-Motions," and regrettably that was many, it's a challenge to describe exactly what those who did go got to experience. In her director's note, Glowa talked about her interest in the way the human body moves, and how movement, "or lack of movement, can communicate so much more than words."

The "story" of the show revolved around three women struggling with their own demons - alcoholism, illness, and separation from a loved one posted off to war.

The show followed them as they made the emotional journey from indifference ("going through the motions of life," as the program put it), through their descent into crisis, anxiety and sadness, until anger marked the turning point to a return to hope, "calm" and happiness.

The show was not dance, per se, and should not be judged that way. (With all due respect to their efforts, it was clear this was not a cast of trained dancers.) This was, instead, theatre without words, and did it succeed on that level? Was it engaging, entertaining, perhaps even moving? On all three counts, the answer was a definite yes, yes and yes.

Right from the opening, black light tableau of white-masked robots through to the joyous, colourful swirl of dancing bodies in the final scene, the action onstage was absorbing and the energy and commitment of the players was palpable.

The three lead parts in the production were played by Heather Butterworth ("Sam"), Erin Sullivan ("Kasey") and Angela Mayhew ("Alex"), and each was shadowed for portions of the show by their "inner beings," Jenieveve Fredette, Helena Lindquist and Karen Shewchuk.

All three pairs were strong, but special mention must go to Butterworth and Fredette, who just seemed to take their characters that one extra step. The despair on Sam's face and in her movements at the lowest points of the show were harrowing, and the "anger" in Fredette's body language in the central scene was truly fierce.

Technically the show ran without a hitch, which is a testament to all those involved in the off-stage crew. If, as an audience, you don't notice all the stage cues for lights, sound, special effects - and there were plenty of them - that's a good thing.

Particular note must go also to Glowa's stage design - three frames, one for each lead character, that the cast clambered over, on and through.

Each frame, however, was covered in front with a thin, stretch material, that allowed bodies within to be backlit to wonderful effect, and hands to reach "out" through the front to menace the three women or simply to create flowing patterns.

If there was anything to find fault with, perhaps just two minor points.

While each of the three lead characters had a distinct situation they were dealing with, their emotional journeys were presented as parallel.

Some more time devoted to their differences may have made each story feel more complete. (Alex's reunion with her husband, for example, felt slightly breezed over.) And, like all productions limited to the stage in Childs Auditorium, parts of the show felt somewhat lost in the depths. Moving the frames forward, particularly Kasey's, and putting more of the action "out front" might have made it that much more immediate and affecting.

But then, it's always easier to second-guess a director's decisions after the fact without knowing the challenges involved.

Neither point should be considered to take anything away from what was overall a brilliantly original local production.

Kinda makes you wonder, who else is out there with an idea they'd love to bring to the stage?

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Article from November 18th North Renfrew Times:

"E-MOTIONS" TICKETS ON SALE

Anyone who loves "Dusk Dances", "Motis-O", "Stomp", "Tap Dogs" or other examples of movement theatre should skip, not walk, to see "E-Motions" playing this Thursday to Saturday at Childs Auditorium (7:30 PM, Nov. 19-21).

So says Kristen Glowa, the show's creator and choreographer, who drew upon these influences as well as her own background in dance and movement in realizing her new "dream child".

The seeds of "E-Motions" first germinated in Kristen's mind about five years ago.

"It started before I did the Dusk Dances piece in 2006, although, that experience made me think that I really could do a longer piece like E-Motions."

The name of the show, "E-Motions", just popped into Kristen's head one day.

"I think it probably came a bit from Motis-O doing an entire piece on 'love' once."

Since arriving in town in 1997, Kristen has gradually stretched her choreographer's legs through the Deep River Players, Dusk Dances, and other activities.

"I've always been fascinated with communication through movement. When I was five I went to see the Royal Winnipeg Ballet's production of Nutcracker and you could say I was hooked on movement telling a story."

"E-Motions" is the show that brings it all together for Kristen, and she is grateful to the Players for supporting her "crazy" vision from the start.

The craziness turns out to be life itself: the show takes us through the gauntlet of emotions we all experience in dealing with the world around us.

A storyline ties the scenes together, but the telling comes through movement, music, and of course - emotion.

In one scene, for example, "anger" is expressed through percussion and movement inspired by the "Stomp" stage show.

"It's such a fundamental and consuming emotion", Kristen explains, "It naturally lends itself to lots of energy, individual expression, and rhythmic noise".

Will the show be suitable for children?

"Absolutely", says Kristen, "I'll be bringing Braden. The show is suitable for any child that can tolerate one scene where demons chase the leads around a bit. The story itself is interesting to kids on different levels, especially the dancing and visual effects. And there's no coarse language or inappropriate situations."

The show is also relatively short, Kristen adds, so no marathon viewing is expected of the audience.

The music for "E-Motions" is as diverse as the emotions portrayed - instrumental numbers drawn from the movies, the eclectic collections of Kristen's sisters, and her own favourites.

Local musician Marion Arthur contributed an original work evoking "sadness", employing the rich melancholy that cellos excel at.

Completing the equation are the costuming, make-up, and of course, lighting and special effects. Kristen wanted to make full use of the capabilities of Childs Auditorium, and bring in new elements that complement the show.

There is some use of strobe lighting but Kristen assures that it is minimal and not sustained at any time.

In short, there's something for everyone.

"I think everyone will be able to relate to this show", assures Kristen, "Everyone has these emotions, and this show just shows them in a way we're not used to seeing in real life."

The Players will be donating part of the proceeds for "E-Motions" to North Renfrew Family Services.

As has been the practice for the Players recently, tickets to Thursday's opening night include a invitation to a reception following the show.

Tickets for "E-Motions" are $15 apiece, and can be purchased at Pinecrest Florists or at the door.

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