FTR: The story so far (Notes 2)

The story so far

Michael Trent has an idea to make a series of double bills – intimate collaborations with another artist – not necessarily another choreographer, but possibly another choreographer. He wishes to meet other artists in a way that can only happen by making a show.

In November of 2006 he sees /Dance/Songs/, Ame Henderson’s recent piece with her company Public Recordings. He decides he would like to ask Ame to be the other artist for Double Bill #1.

She agrees.

They want to deepen their own work by meeting the other. Not necessarily move towards the other, but to respond.

They decide each will make a piece and that they will share the same collaborators.

They agree to work with scenographer Trevor Schwellnus, who had designed /Dance/Songs/ and many other shows in the Toronto theatre scene. He creates worlds of real objects re-visioned on stage.

For the music they talk to Eric Chenaux. Eric Chenaux makes music with many collaborators in many configurations – one of them is The Reveries with Doug Tielli and Ryan Driver. The Reveries only do covers. And they only cover love ballads – American songbook standards to Willie Nelson and Sade. The Reveries cover these love ballads with waterproof cell phone speakers in their mouths.

They ask Chenaux what he thinks he would like to do with The Reveries for Double Bill #1. He proposes the company work with five CD’s of love ballads The Reveries might cover, that there would be a home stereo on stage and the dancers could pick the songs they wanted to listen to while they danced. Then, as late in the process as possible, the “originals” would be replaced by covers as done by The Reveries.
Ame and Michael agree.

They work for a week in December – testing ideas, playing with possibilities.
In February they come back to the work.

A week ago they switched to the music of The Reveries.

On Monday they moved to the theatre.

And now you are here.

Thanks for coming.