Colossus program

Colossus Stephanie Lake Company

A project in collaboration with Toronto Metropolitan University and York University

March 22-26, 2023

Photo credit: Mark Gambino

Meridian Arts Centre Greenwin Theatre

TO Live would like to acknowledge Tkaronto, which is a Mohawk word meaning the place in the water where the trees are standing.

We live and work on the traditional territory of Haudenosaunee-speaking nations, including the Huron-Wendat, Seneca, and Mohawk. Haudenosauneespeaking nations have been here since time immemorial, and were more recently joined by the Mississaugas of the Credit.

This place has many Indigenous ports, including where the Humber and Rouge rivers meet other waterways such as Lake Ontario. Ancient longhouses— typical Haudenosaunee housing structures—have been found along both these rivers and in the north of Toronto near modern-day York University. This territory is covered by the Dish with One Spoon Wampum Belt Covenant, an agreement between the Haudenosaunee (Six Nations) Confederacy and the Anishnaabe (Ojibwe) and allied nations to peaceably share and care for the lands and the relationships around the Great Lakes.

What this means is that by living and working here, we all have a responsibility to the environment and to each other, to treat each other and the environment with peace and respect. This means we have responsibilities to honour, renew, and consistently uphold the values and relationships outlined in the ancient agreements.

Today, Toronto is home to Indigenous peoples and settlers from around the world. Let us all come together in an atmosphere of respect and peace to do good work together with good minds. Let’s start building stronger and healthier relationships with each other and the spaces we inhabit in Tkaronto, Ontari:io, Kanata.

Let’s hold our minds together in kindness. Nia:wen. Thank you.

© Dawn Maracle

Photo credit: Julian Kingma

Welcome letter from TO Live

Following its world premiere in Melbourne, Colossus blazed a trail through Sydney and Perth before COVID hit in March 2020. Even so, the Théâtre National de la Danse Chaillot in Paris was determined to present the show and, despite all the heartache and disruption caused by the pandemic, a way was found. Choreographer Stephanie Lake and her team taught the entire work to students from the Conservatoire National Supérieur de Musique et Danse de Paris over Zoom, and in June 2021 it was the show Chaillot reopened with after lockdown. The arts world is full of stories like this, inspirational tales of creativity and resilience in the face of so many obstacles.

Colossus has since been seen in Taiwan, Germany, Hong Kong, and Geneva. Now, following its season in Montreal, we are excited and proud to share this remarkable work with you, our audience here in Toronto.

Conceived for a large ensemble of post-secondary student dancers in their graduating year, Colossus offers an incredibly valuable opportunity for young artists about to embark on their professional careers. To bring it to life here in Toronto, Stephanie Lake and her rehearsal directors, Nikky Muscat and Sarah McCrorie, have been working with 42 dancers from Performance at The Creative School, Toronto Metropolitan University and the Department of Dance, School of the Arts, Media, Performance & Design at York University.

The exhilarating performance you are about to see will demonstrate not only how monumental and thrilling Colossus is, but also how remarkable these young dancers are. We are grateful to York University and TMU for incorporating this time into their students’ schedules so that they, and we, can benefit from their participation.

We invite you to enjoy the show.

Clyde Wagner President & CEO Josephine Ridge Vice President, Programming

A note from Stephanie Lake

In 2018 I had the idea to create a show for 50 dancers. I recruited 50 young dancers from across the city and with a commission from Arts Centre Melbourne and Melbourne Fringe, I was able to make that big idea a reality. The astonishing response to the work (both in real life and online, through the viral video) has been utterly wonderful. Colossus has since been performed across the globe in Paris, Taipei, Geneva, Sydney, Hong Kong, Germany, Perth, Newcastle, Montreal, and now Toronto. In each place the show is stage staged, we work with local dancers who learn and perform the show. Remarkably, the dancers learn all the choreography in just two weeks of rehearsal. Consider the incredible speed, talent, and dedication of the dancers when you watch the complex choreography unfold.

The show pushes the dancers to work with rhythmically precise movement sequences on the one handed and reckless abandon on the other. They create some passages of their own choreography as part of the process. They also improvise, shout, sing, and talk. They bring all of themselves to the show and Colossus only succeeds because of the strength and brilliance of the performers. It has been interesting to observe the ways in the show takes on new meaning in its different cultural contexts. A section like “marching” has different associations in Germany and Taipei, for example. Some casts find synchronization and unity easy to find; others are more comfortable with the moments of wild individuality. It has been a fascinating global social experiment.

Our deep thanks to the Toronto Metropolitan University and York University dancers, teachers, collaborators, and team, and to everyone at TO Live for making Colossus Toronto possible. And to you, our dear audience. It is very special for me to have the show performed in the country I was born and raised in.

We hope you enjoy the show!

Stephanie Lake Choreographer

Colossus asks if our societies, crowds, and social networks are more than simply collections of individuals, but its epic scale extends beyond the human, with movements echoing the grand systems and patterns of nature. Colossus shows both the beauty and the ugliness of the collective experience.

Photo credit: Mark Gambino

Colossus is about strength in numbers and the power of the mass. It explores solidarity, mob behaviour, protest, intimacy, and control.

Colossus Stephanie Lake Company

Creative team

Choreographer: Stephanie Lake

Composer: Robin Fox

Lighting designer: Bosco Shaw

Costume designer: Harriet Oxley

Rehearsal directors: Nikky Muscat and

Sarah McCrorie

Production manager: Emily O’Brien

Technical director: Robert Larsen

Producer: Beth Raywood Cross

Consultant producer: Vivia Hickman

International agent: Cathy Pruzan

Cast

Toronto Metropolitan University dancers

Sejon Balachandran

Alayna Battaglini

Jennifer Choi

Griffen Grice

Janeyce Guerrier

Emily Hodgins

Clara Isgro

Felicia Jackson

Nikaya Jageshar

Zoey McColl

Melina Patry

Meagan Polegato

Scout Radomski

Chloe Reelis

Alli Robb

Kristel San Jose

Anisa Saouab

Danielle Smith

Selina Tsai

Claire Welikoklad

Logan Whyte

Ciara Young

Colossus was originally commissioned by Arts Centre Melbourne and Melbourne Fringe through the Take Over Program. Stephanie Lake Company is supported by the Australia Council for the Arts, Creative Victoria, Canny Quine Foundation, and Humanity Foundation.

York University dancers

Jerry Bonkowski

Kelsey Bonvie

Kayla Champis

Tala Cooper

Gabi Braithwaite

Mackenzie Grantham

Kerry Halpin

Nicole Faithfull

Phoebe Harrington

Zoë Harrington

Sophia Hassenstein

Ebe Lau

Martina Levi

Jianna Neufeld

Mikaela Orford

Abbey Richens

Blythe Russell

Zuri Skeete

Amy Williams

Natalie Yeung

Stephanie Lake is a multi-award-winning choreographer and dancer, and artistic director of Stephanie Lake Company based in Melbourne. Born in Canada and raised in Tasmania, she is a graduate of the Victorian College of the Arts and went on to dance for leading Australian dance companies Chunky Move, Lucy Guerin Inc., and BalletLab, touring internationally and performing extensively for nearly 20 years.

Stephanie Lake Company was established in 2014. Known for a gutsy, highly physical, and poetic choreographic style, Stephanie’s works have toured the globe and won multiple national awards. Stephanie Lake Company’s major works include Manifesto, Colossus, REPLICA, Pile of Bones, Double Blind, A Small Prometheus, and DUAL and have been presented by Sydney Festival, Melbourne Festival, Dance Massive, Sydney Opera House, Theatre National de Chaillot (Paris), December Dance (Belgium), Theatre de la Ville (Luxembourg), Hong Kong Arts Festival, Dublin DanceFestival, Tramway (Glasgow), Aarhus Festival (Denmark), Theater im Pfalzbau (Germany), and M1 Contact Festival (Singapore), Taipei National Theater (Taipei), and Ruhrfestspiele (Germany), among many others.

Stephanie has received the Australian Dance Award (2018 and 2014), Helpmann Award (2014), and Green Room Award (2011) for best choreography. In 2013 she was appointed inaugural resident director of Lucy Guerin Inc., which included working as Guerin’s choreographic assistant at Lyon Opera Ballet. Stephanie was the inaugural recipient of the Dame Peggy van Praagh Choreographic Fellowship in 2012 and received a coveted Sidney Myer Creative Fellowship in 2013, as well as an Australia Council Fellowship in 2018.

Stephanie collaborates across theatre, film, TV, visual art, and music video. She has directed many large-scale public works involving over 1,000 participants. She has been a guest lecturer at the Victorian College of the Arts for nearly 20 years and has led masterclasses around the world. Stephanie is the patron of Moves Festival, Hobart and ambassador for Stompin youth dance company and currently sits on the VCA advisory board.

Stephanie Lake Choreographer

Robin Fox is an internationally recognized Australianbased audio-visual artist working across live performance, exhibitions, public art, and composition for contemporary dance. His audio-visual laser works, which synchronize sound and visual electricity in hyper-amplified 3D space have been performed in over 60 cities worldwide.

Since 2008 he has composed music for over 25 contemporary dance works (many nominated for Greenroom and Helpmann awards) working with Australian choreographic luminaries Stephanie Lake, Gideon Obarzanek, Lucy Guerin, and Antony Hamilton.

In 2016 Fox became the founding director of MESS (Melbourne Electronic Sound Studio) a not-for-profit organization dedicated to giving everyone access to the entire history of electronic musical instruments. He holds a PhD in composition from Monash University and an MA in musicology.

A graduate of the Victorian College of the Arts in theatre design and Royal Melbourne Institute of Technology in fashion design, Harriet has designed and created costumes for dance, opera, circus, and theatre companies across Australia since 2005. Harriet has collaborated with Stephanie Lake since 2010, designing for multiple productions including her recent commission for Sydney Dance Company, The Universe is Here. Collaborations with companies include Sydney Dance Company, Dancenorth, Lucy Guerin Inc., Chunky Move, Circus Oz, Back to Back Theatre, Melbourne Theatre Company, Malthouse Theatre/ Pan Pan UK, Victorian Opera, and Melbourne Opera.

Bosco is a lighting and set/space designer and builder. His interest is in work that involves bodies and movement and how light feeds across, and can influence, a space. Predominantly he sees his role within the development of works to propose and facilitate alternate lighting sources and means, so that an idea can evolve spatially and have subtle resonance.

He has worked with large contemporary dance companies, intimate projects, individual artists, and theatre works, as well as designing and installed lighting for public spaces. He has travelled extensively in this capacity, has a background in drafting, and is a passionate lover of beautiful buildings and fast motorbikes.

Robin Fox Composer

Harriet Oxley Costume design

Bosco Shaw Lighting design

Backstage with Stephanie Lake

Stephanie Lake is a powerhouse choreographer and dancer who could give a masterclass in doing things her own way.

Born in Saskatchewan but living in Australia since she was eight, Stephanie is a self-described “late bloomer” to the industry who began dancing in her mid-teens—an age when most pros already have years of rigorous training under their belts. She was a choreographer before becoming a dancer, the opposite of the usual trajectory. Then just as she was hitting her peak as a professional dancer touring internationally, she stepped away from it all to have kids.

But unlike most dancers who become moms, Stephanie came back to focus on creating intricate dance works with large casts. She launched her namesake company in 2014 when she was just in her 30s, an impressive feat considering most major dance productions are still choreographed by men.

Now she’s enjoying another career high touring several of her award-winning contemporary works around the world. Currently back in Canada to stage her viral hit Colossus—a thrilling piece featuring 40-plus local dancers, which premieres in Toronto at Meridian Arts Centre this month—we sat down with Stephanie to talk all about the show, surprise successes, and becoming a role model.

How did you come up with the idea for Colossus?

I’ve always loved working with massive groups of dancers. Even as a student, I wanted everyone in my class to be in my work. I was feeling adventurous and ambitious, and I wanted to work on a big idea for 50 dancers. I didn’t really know how I was going to do it, but I knew it was going to happen. And then I got a small commission from Arts Centre Melbourne, and I thought, okay, this is the one. I gathered 50 dancers from across Melbourne and we, hot and fast, made this show. And it was this incredible success way beyond what any of us could have imagined.

You’ve said Colossusis about the relationship between the individual and the collective—something that took on new dimensions during the pandemic. Has your thinking on it changed recently?

I feel like Colossus took on a whole other level of meaning during the pandemic. We performed it multiple times around the world while we were in the midst of the pandemic, which was really powerful. And simple things like breathing together in close proximity or making sound together just took on this whole other resonance. Of course, just having people close together, shoulder to shoulder, to be touching, to be sharing space, means something completely different now. But the pandemic’s changed what the piece means in a positive way because it is a hopeful work with so much life force and energy in it. I feel like it’s a piece for these times.

What led you to become an artist?

My parents are both creative people, so I feel like it was always going to be the case. But honestly, I’ve never been interested in choosing a sensible path. I knew studying dance was preposterous and I probably wouldn’t work or earn any money. And I was completely okay with that. I thought I would wait tables or whatever to sustain my passion. My ambitions and expectations were very modest; I just hoped that maybe I would have a little show in the dance house in Melbourne.

Then as things started to go well for me as a dancer, I started adjusting my ambitions. I would go, “well, this is happening, that’s amazing. Maybe this other thing could happen.” And every time I would think of a new thing, it would happen. Now similar things are happening for me as a choreographer—I have a little ambition for my show to be in a certain venue, and then it happens quickly. So I have to move my goalposts. And now that we’re travelling so much around the world, I’m like, oh my God, what?! I’ve gotta dream even bigger because my dreams are coming true. It’s corny, but that’s what’s happening.

Photo credit: Mark Gambino

You’ve spoken about being a young mom in the dance industry and not having role models. How does it feel to now be an example of a successful mom in the business?

Oh, it makes me incredibly happy and proud. I feel very connected to young moms who work in dance and do my best to support them to stay in the industry or return once they’re ready.

There’s never a good time to have children. It’s a tough bind. You have them young, and you maybe make difficult career sacrifices. You wait longer, and maybe it’s harder to have children or you’re in the peak of your career and it’s a hard time to take a break.

I feel lucky that I had my kids when I was young because now they’re 18 and 16 and we’re travelling the world together. They’re independent, they’re brilliant, and we’ve kind of made it through somehow. But those early years when they’re babies or toddlers and trying to work even just a little bit and be a present parent is intense. I take my hat off to every parent who’s juggling that. Those early years, there’s nothing else like it. And I’m proud that we got through it, me and my daughters.

Have opportunities for working moms in dance changed?

Systemically not much has changed, unfortunately. It’s still tough in most fields, I’m sure. Some places do it better. In Europe, for example, there’s paid maternity leave. But generally, dancers who choose to have families step away from the industry or sidestep into something else. It’s still quite rare for dancers to come back to performing. But I hope there have been small shifts that make it more possible. Post pandemic there’s more acceptance and flexibility so dancers don’t have to be in the studio eight hours a day. In small ways, I’m trying to help by offering part-time work to performers or being more flexible about how they might return after having children. But it’s still enormously tricky.

Photo credit: Mark Gambino

Choreography is still overwhelmingly dominated by men. How are you navigating this space as a woman with your own company? It’s an interesting/frustrating situation that this art form completely dominated by girls and women in the early stages—19 girls to one boy in early dance— when you go up the ladder where there’s lucrative pay and stability, it’s almost entirely populated by men.

I know that’s not unique to dance, but it’s particularly frustrating because the history and now of dance is so populated by women. So why is this happening? Is it the boards who are making decisions? It’s complex. It’s parenthood, people leaving the industry. Maybe it’s that when women dancers get to the point where they might be moving into leadership roles, they’re choosing to have families.

But I’m hoping to make small changes just by being a woman with some success and a profile, and hopefully be a model for the next generation. I’m proud that in my company, the leadership—everyone from the producer to production manager and financial manager— is all women. I’d like to hope that in a subtle way, we’re showing that it can be done.

Photo credit: Mark Gambino

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Photo credit: Mark Gambino

Stephanie Lake Artistic Director