Sensory Life Infinite World

choreography by Jolene Bailie

Canwest Centre for Theatre and Film

Sunday, February 21, 2009

Androgyny and depth are the two words that most characterize Jolene Bailie’s choreography.

Each was evident from the get-go in her production of Sensory Life Infinite World in this portrayal of the emergence of life from the primordial oceans leading to that violent biped, Person.

The set is sparse – a canvas sheet spread across the dance floor in landscape mode together with hills and gulleys with something resembling sand spread across. This is accompanied by Hugh Conacher’s images of water projected onto a screen. Conacher has been with Bailie for ten years and is much more than just a lighting technician – although he is one of the best at that function.

Bailie comes onto the stage to apologize for the delay as they are waiting for the approval of the building engineers leaving the packed house (even after two other performances) wondering why building engineers are involved. We will soon discover the reason.

Normally, Bailie performs solo and at the Fringe Festival. She will no longer take part in the Fringe circuit. Her solo career may also be limited as she has achieved grant funding which enables her to employ several dancers – in the case of Sensory Life, seven additional. She wasn’t involved in the dancing herself this performance which is something hopefully will be remedied as it is always a pleasure to watch her graceful, sinuous, sensual performances.

Bailie’s vision in this, her first full-length ensemble work, is impressive. She demands a great deal from her dancers many of whom are relatively new. They give back more. It is unfortunate that photos could not have accompanied the playbill as most in attendance were not familiar with the dancers. Neither are photos available on Bailie’s website www.gearshifting.org.

We are advised that three – Tiffany Thomas, Mark Sawh Medrano and Sarah Helmer – are still in training with the professional division of Winnipeg’s Contemporary Dancers or recent graduates.

Freya Björg Olafson, a graduate of the WCD, is becoming morewell known to Winnipeg dance enthusiasts due to her recent innovative performances.

Claire Marshall and Tyrell Witherspoon have been brought in from elsewhere in Canada. Tyrell is readily identifiable due to the lack of male contemporary dancers on the Winnipeg dance scene so it is refreshing to see someone as talented as he making his appearance here.

Completing the dancer registry is Emma Rose who has now been involved in twenty of Bailie’s performances.

The opening scene calls for dancers to slither around the stage like salamanders. One of Bailie’s stylistic traits is to have different actions taking place simultaneously on remote parts of the stage giving her performances great depth. Another is androgyny in that what is expected of a male dancer, such as carrying another dancer, is also expected of a female dancer and vice versa. Thus, there is no gender role-playing. As a result, Bailie is able to create unusual dance formations which add immensely to the stage action.

Not being satisfied with having merely one of the most creative minds in dance, Bailie also has a tremendous sense of humour. This is exhibited throughout this performance as in the kung fu style movement which initially out of character but is quickly woven into the piece.. It is used to announce the emergence of Person. There is also the discovery of fire scene with its squealing accompaniment which also took place at other times in the performance.

All of this is to say that watching a Jolene Bailie choreography is a delight.

• John Herbert Cunningham