kidd pivot tour 2023

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• · 2023-2024 Season

Assembly Hall

https://nac-cna.ca/en/event/33704

• In-person event

From the team that brought you the ground-breaking, award-winning Betroffenheit and Revisor comes Kidd Pivot's latest creation, a dance-theatre hybrid that promises to deliver the company's trademark wit and ingenuity.   Co-creators Crystal Pite (Kidd Pivot) and Jonathon Young (Electric Company Theatre) bring together eight superb performers in a new work that explores our need for a sense of togetherness and belonging. In a setting somewhere between a...

• ≈ 90 minutes · No intermission

From the team that brought you the ground-breaking, award-winning Betroffenheit and Revisor comes Kidd Pivot's latest creation, a dance-theatre hybrid that promises to deliver the company's trademark wit and ingenuity.  

Co-creators Crystal Pite (Kidd Pivot) and Jonathon Young (Electric Company Theatre) bring together eight superb performers in a new work that explores our need for a sense of togetherness and belonging. In a setting somewhere between a community hall and a mythical kingdom, we witness the joys and pitfalls of devoted like-mindedness and the pain of exile.  

Kidd Pivot's fascination with narrative and the role of language as a vital force continually informs the company’s work.  

Crystal Pite's bold and original vision has earned her international acclaim and inspired a generation of dance artists. In 2002, she founded Kidd Pivot and made it her mission to translate universal issues into works of art that connect to deep and essential parts of our humanity. More than 50 creations later, Crystal continues her commitment to refine the universal language of dance.  This performance includes English only dialogue that is integral to the work's narrative. 

Developed with support from the NAC's National Creation Fund .

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Join us for discussions, activities, and presentations related to this event.

Assembly Hall: Pre-Show Chat

In a choreographic career spanning three decades, Crystal Pite has created more than 50 works for dance companies in Canada and around the world. She is the founding artistic director of the Vancouver-based company Kidd Pivot, world-renowned for radical hybrids of dance and theatre that are assembled with a keen sense of wit and invention. Crystal is known for works that courageously address such challenging and complex themes as trauma, addiction, conflict, consciousness, and mortality; her bold and original vision has earned her international acclaim and inspired an entire generation of dance artists. 

Crystal Pite was born in Terrace, BC, and grew up in Victoria. She began her dance career as a company member of Ballet British Columbia (Ballet BC), then William Forsythe’s Ballett Frankfurt. She made her choreographic debut in 1990 at Ballet BC, and since then has created works for such prominent companies as The Royal Ballet, The Paris Opera Ballet, Nederlands Dans Theater, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Ballets Jazz Montréal (resident choreographer 2001–04), and Cedar Lake Contemporary Ballet. She has also collaborated with Electric Company Theatre and Robert Lepage, and is currently Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist of Sadler’s Wells in London.  

In 2002, she formed Kidd Pivot, a company that strives to distill and translate universal questions into artworks that connect us to deep and essential parts of humanity.  

“Running through all of my work is the question of what moves us,” she says. Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co-created with playwright Jonathon Young), The Tempest Replica , Dark Matters , Lost Action  and The You Show . In 2008, Crystal Pite participated in the inaugural GGPAA Mentorship Program as the protégée of 2004 GGPAA laureate Veronica Tennant, former principal dancer of the National Ballet of Canada. 

Crystal Pite is a Member of the Order of Canada. Her other awards and honours include the Benois de la Danse, Canada Council Jacqueline Lemieux Prize, Grand Prix de la danse de Montréal, two UK Critics’ Circle Dance Awards, four Laurence Olivier Awards, and an honorary doctorate from Simon Fraser University. 

Au cours d’une carrière de chorégraphe qui s’étend sur trois décennies, Crystal Pite a créé plus de 50 œuvres pour des compagnies de danse au Canada et dans le monde entier. Elle est la directrice artistique fondatrice de la compagnie Kidd Pivot de Vancouver, reconnue mondialement pour ses hybridations radicales entre la danse et le théâtre, assemblées avec un sens aigu de l’esprit et de l’invention. M me Pite est connue pour ses œuvres qui abordent courageusement des thèmes aussi difficiles et complexes que les traumatismes, la toxicomanie, les conflits, la conscience et la mortalité. Sa vision audacieuse et originale lui a valu une reconnaissance internationale et a inspiré toute une génération d’artistes de la danse.

Crystal Pite est née à Terrace, en Colombie-Britannique, et a grandi à Victoria. Elle a commencé sa carrière de danseuse comme membre de la compagnie du Ballet British Columbia (Ballet BC), puis du Ballett Frankfurt de William Forsythe. Elle a fait ses débuts de chorégraphe en 1990 au Ballet BC, et depuis, elle a créé des œuvres pour des compagnies aussi prestigieuses que le Royal Ballet, le Ballet de l’Opéra de Paris, le Nederlands Dans Theater, le Ballet Cullberg, le Ballett Frankfurt, le Ballet national du Canada, Ballets Jazz Montréal (chorégraphe résidente de 2001 à 2004) et le Cedar Lake Contemporary Ballet. Elle a également collaboré avec l’Electric Company Theatre et Robert Lepage, et est actuellement chorégraphe associée du Nederlands Dans Theater, artiste de danse associée du Centre national des Arts du Canada et artiste associée du Sadler’s Wells à Londres. 

En 2002, elle a créé Kidd Pivot, une compagnie qui s’efforce de distiller et de traduire des questions universelles en œuvres d’art qui nous relient à des parties profondes et essentielles de l’humanité.  

“La question de savoir ce qui nous touche traverse tout mon travail”, dit-elle.  

Kidd Pivot effectue des tournées internationales avec des œuvres acclamées par la critique telles que Betroffenheitet , Revisor (toutes deux co-créées avec le dramaturge Jonathon Young), The Tempest Replica , Dark Matters , Lost Action et The You Show .  

En 2008, Crystal Pite a participé au programme inaugural de mentorat des GGPAA en tant que protégée de Veronica Tennant, lauréate des GGPAA en 2004 et ancienne première danseuse du Ballet national du Canada. 

Crystal Pite est membre de l’Ordre du Canada. Parmi les autres prix et distinctions qu’elle a reçus, mentionnons le prix Benois de la Danse, le Prix Jacqueline-Lemieux du Conseil des arts du Canada, le Grand Prix de la danse de Montréal, deux Critics’ Circle Dance Awards du Royaume-Uni, quatre prix Laurence Olivier et un doctorat honorifique de l’Université Simon Fraser. 

NAC media featuring Crystal Pite

Canadian theatre artist Jonathon Young is playwright-in-residence at Kidd Pivot and a core artist of Electric Company Theatre, where he has created and performed in over 20 original productions: Tear the Curtain! (Arts Club Theatre, Canadian Stage), No Exit (American Conservatory Theatre), Betroffenheit (international tour). He has worked as an actor on stages across Canada : Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company/ Luminato Festival), All But Gone (Necessary Angel, Toronto), The Great Gatsby (Theatre Calgary), Hamlet (Bard on the Beach, Vancouver). In addition to Betroffenheit and Revisor , Jonathon collaborated with Crystal Pite on two productions for Nederlands Dans Theater ( Parade and The Statement ). Jonathon is the recipient of an Olivier Award and the UK National Dance Award.

Artiste de théâtre canadien, Jonathon Young est dramaturge en résidence à la compagnie Kidd Pivot et artiste principal à l’Electric Company Theatre, où il a collaboré à la création et à l’interprétation de plus de 20 productions originales, dont :  Tear the Curtain!  (Arts Club Theatre et Canadian Stage),  No Exit  (American Conservatory Theatre) et  Betroffenheit (tournée internationale). Jonathon a également travaillé partout au Canada en tant qu’acteur indépendant. Parmi ses récents projets, on compte :  Knives in Hens (Coalmine Theatre), The Full Light of Day (Electric Company et Festival Luminato), All But Gone  (Necessary Angel, Toronto),  The Great Gatsby  (Theatre Calgary),  Hamlet  (Bard on the Beach, Vancouver). En plus de Betroffenheit et Revisor, Jonathon a collaboré avec Crystal Pite sur deux projets pour le Nederlands Dans Theatre :  Parade  et  The Statement . Jonathon a reçu le prix Olivier et le National Dance Award du Royaume-Uni.

• Produced by Kidd Pivot
• Created by Crystal Pite and Jonathon Young
• Choreographed and Directed by Crystal Pite
• Composition and Sound Design Owen Belton, Alessandro Juliani, and Meg Roe
• Scenic Design Jay Gower Taylor
• Visual/Video Design Cybèle Young
• Lighting Design Tom Visser
• Costume Design Nancy Bryant
• Assistant to the Creators Eric Beauchesne
• Dancers Brandon Alley, Livona Ellis, Rakeem Hardy, Greg Lau, Doug Letheren, Rena Narumi, Ella Rothschild, Renee Sigouin

Articles & reviews

Crystal Pite’s Kidd Pivot back with another world premiere called “Assembly Hall”

“When you’re talking about gathering, you instantly come up against questions about belonging—what are the joys of gathering or assembling...

Crystal Pite goes medieval on Kidd Pivot's Assembly Hall

Crystal Pite‘s previous two works, Betroffenheit and Revisor, both received Olivier Awards. This is an immense achievement as Britain’s most...

Assembly Hall: Crystal Pite’s newest dance-theatre collaboration

On the heels of the widely acclaimed Revisor (2019) and Betroffenheit (2015), Kidd Pivot is back with a new dance-theatre hybrid co-created...

Dance review: By turns cerebral and funny, Kidd Pivot's Assembly Hall plays elaborate games

In Crystal Pite and Jonathon Young’s world premiere, ancient stories and unruly humans can’t be contained

Additional links

• kiddpivot.org

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Post-show talks with the artists

Electrifying dance theater

A highly anticipated new work by acclaimed choreographer Crystal Pite, following the massive success of Revisor and Betroffenheit . A brilliantly orchestrated, highly energetic and inventive hybrid of dance and theatre.

Hailed by the British newspaper The Guardian as “a 21 st -century dance genius,” Crystal Pite is one of Canada’s most prominent choreographers. Assembly Hall, her new co-creation with playwright Jonathon Young for the eight wonderful performers of Kidd Pivot, springs from the fascination with story and the role of language as an animating force that fuels the company’s creative process. A group of medieval re-enactors have gathered in the local community hall for their annual general meeting. The event they are organizing has fallen on hard times, and unless something drastic happens, this venerable order will be facing dissolution. As the meeting progresses, the line between reality and re-enactment begins to blur, ancient forces are awoken, and it soon becomes clear that there is much more at stake than a mock medieval tournament. A breathtaking work, moving and inspiring.

Crystal Pite is known around the world for works that courageously address such challenging and complex themes as trauma, addiction, conflict, consciousness, and mortality.

Known around the world for their radical hybrids of dance and theatre, Kidd Pivot’s creations are assembled with wit and invention and marked by a strong theatrical sensibility. Led by internationally renowned Canadian choreographer and director Crystal Pite, the company is unflinching in the face of challenging and complex themes of trauma, addiction, conflict, consciousness, and mortality.

Produced by Kidd Pivot

Choreographed and Directed by Crystal Pite. Written and Directed by Jonathon Young.

Composition and Sound Design Owen Belton, Alessandro Juliani and Meg Roe. Scenic Design Jay Gower Taylor. Costume Design Nancy Bryant. Lighting Design Tom Visser. Video Design Cybèle Young Show Control and Sound Programmer Eric Chad. Assistant to the Creators Eric Beauchesne.

Additional Music Tchaikovsky, Piano Concerto No. 1 in B-Flat Minor, Op. 23, TH. 55 - I. Allegro non troppo e molto maestoso - Allegro con spirito performed by Alice Sara Ott · Münchner Philharmoniker · Thomas Hengelbrock ℗ 2010 Deutsche Grammophon GmbH, Berlin.

Performers Brandon Alley, Livona Ellis, Rakeem Hardy, Gregory Lau, Doug Letheren, Rena Narumi, Renée Sigouin, Lea Vedd.

Voice Director Meg Roe. Voices Ryan Beil, Marci T. House, Alessandro Juliani, Meg Roe, Gabrielle Rose, Amanda Sum, Vincent Tong, Jonathon Young. Production Manager / Technical Director Jeff Harrison. Stage Manager Yvonne Yip. Audio and Show Control Operators ilvs Strauss, Eric Chad. Wardrobe Supervisor Donnie Tejani. Set Construction Great Northern Way Scene Shop. Scenic Artists Charlie Easton, Barry Kootchin, Sharon Sloan, Patrick Spavor.

Prop Builders Monica Emme, Jay Gower Taylor, Heather Young, Jen Hiebert Aluminum Armour Rob Valentine & Valentine Armouries. Cutter Janet Dundas. Costume Assistants and Builders Alaia Hamer, Nicola Ryal, Alice Devonshire. Stitchers Tracey Gauvin, Eloise Pons, Jayme Cline. Dyer and Builder Tessa Armstrong. Rehearsal Assistant Nasiv Kaur Sall. French Translator Magali Stoll. Surtitles Anika Vervecken.

Executive Producer Jim Smith. Producer Francesca Piscopo.

World Premiere October 26, 2023 at Vancouver Playhouse, Vancouver, Canada

Kidd Pivot would like to thank Artemis Gordon, Barry Kootchin, Charlie Easton, Kevin Macdonald, Niko Taylor, Arts Umbrella, Ballet BC, The Dance Centre, Studio 58, Ostrom Climate, and the generous financial contributions from the Friends of Kidd Pivot.

Co-produced by Edinburgh International Festival (Edinburgh, UK), Sadler’s Wells (London, UK), Théâtre de la Ville (Paris, France), Centro Servizi Culturali Santa Chiara (Trento, Italy), National Arts Centre (Ottawa, Canada), Seattle Theatre Group (Seattle, US), Canadian Stage (Toronto, Canada), DanceHouse (Vancouver, Canada), Danse Danse (Montreal, Canada), Le Diamant (Quebec, Canada), Electric Company Theatre (Vancouver, Canada).

A special thanks to the Zita and Mark Bernstein Family Foundation, and Bonnie Mah for their generous support.

Developed with support from the National Arts Centre’s National Creation Fund.

Kidd Pivot benefits from the support of BNP Paribas Foundation for the development of its projects.

Kidd Pivot gratefully acknowledges the support of the Canada Council for the Arts, the Government of British Columbia, British Columbia Arts Council, City of Vancouver, and countless individual and business supporters.

Ballet BC is back in force with an outstanding triple bill in which the music of Ravel’s iconic Bolero acts as a catalyst to enhance the power of the ensemble.

Dancing his life on stage, choreographer and dancer José Navas opens his heart and soul as he shares memories of his late partner. A luminous and touching homage.

Electrifying and utterly spellbinding, the award- winning BLKDOG explodes with rebellious energy in a dance that questions our capacity for resilience. An uncompromising view of the world.

The Blanket Exercise is an awareness-raising activity designed to increase knowledge and understanding of the colonial history and experience of dispossession experienced by the Indigenous peoples of Quebec and Canada.

Kevin Gohou, aka Jr Maddripp, invites you to explore krump.

A vibrant tribute to Margaret Harris, an Indigenous elder who devoted her life to keeping her culture alive. A colourful multimedia narrative, a stream of images, dance, song, carved masks and sumptuous regalia.

Back in Montreal, much to our delight, Asia’s leading contemporary dance company takes us on a dizzying sensory journey inspired by a mysterious lunar phenomenon.

Kidd Pivot: Assembly Hall

A Kidd Pivot production presented by Canadian Stage

Created by Crystal Pite and Jonathon Young

From the creators of Betroffenheit and Revisor

Canadian Stage is proud to be a co-commissioner of Kidd Pivot’s highly anticipated new work by acclaimed choreographer Crystal Pite and co-creator Jonathon Young. Assembly Hall  follows the massive success of Revisor and Betroffenheit , which The Guardian called “the best dance work of the 21st century.”

With a style that is brilliantly orchestrated, highly energetic, and an inventive hybrid of dance and theatre, Pite has been described by The Guardian as “the dance genius who stages the impossible.”

A group of medieval re-enactors have come together for an Annual General Meeting in their local community hall. As the Board of Directors, they oversee an event called "Quest Fest" that has fallen on hard times: membership is dwindling, debt is mounting, and the hall is falling apart. Unless something drastic happens, the Directors of this venerable order will be facing dissolution. As the meeting progresses, the line between real and re-enactment begins to blur, ancient forces are awoken, and it soon becomes clear that there is something much more at stake here than a mock-medieval tournament.

There will be a pre-show chat with co-creator Jonathon Young at 6:30pm on December 7th in the upper lobby at the Bluma Appel Theatre. 

One of the world's great choreographers – The Globe and Mail

Pite structures her work with a thrilling intelligence and choreographs with a detail that makes you feel passion and unease under your own skin. – The Guardian

Co-Created by

• Crystal Pite
• Jonathon Young

Written & Directed by

Choreographed & Directed by

Composition and Sound Design

• Owen Belton
• Alessandro Juliani

Scenic Designer

• Jay Gower Taylor

Video Designer

• Cybéle Young

Lighting Designer

Costume Designer

• Nancy Bryant

Show Control and Sound Programmer

Assistant to the Creators

• Eric Beauchesne
• Brandon Alley
• Livona Ellis
• Rakeem Hardy
• Doug Letheren
• Rena Narumi
• Justin Rapaport
• Renee Sigouin

Voice-over Actor

• Marci T. House
• Gabrielle Rose
• Vincent Tong

This production is generously underwritten by Alexandra Baillie, by Cathy Graham & Katy Graham Debost  and by The Sabourin Family Foundation

Co-produced by Edinburgh International Festival (Edinburgh, UK), Sadler’s Wells (London, UK), Théâtre de la Ville (Paris, France), Centro Servizi Culturali Santa Chiara (Trento, Italy), National Arts Centre (Ottawa, Canada), Seattle Theatre Group (Seattle, US), Canadian Stage (Toronto, Canada), DanceHouse (Vancouver, Canada), Danse Danse (Montreal, Canada), Le Diamant (Quebec, Canada), Electric Company Theatre (Vancouver, Canada).

With additional support from: Canada Council for the Arts, British Columbia Arts Council, City of Vancouver Cultural Services.

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Kidd pivot - crystal pite, jonathon young, this event has ended.

A highly anticipated new work by acclaimed choreographer Crystal Pite, following the massive success of Revisor and Betroffenheit . A brilliantly orchestrated, highly energetic and inventive hybrid of dance and theatre.

Hailed by the British newspaper The Guardian as “a 21 st -century dance genius,” Crystal Pite is one of Canada’s most prominent choreographers. Assembly Hall , her new co-creation with playwright Jonathon Young for the eight wonderful performers of Kidd Pivot, springs from the fascination with story and the role of language as an animating force that fuels the company’s creative process. A group of medieval re-enactors have gathered in the local community hall for their annual general meeting. The event they are organizing has fallen on hard times, and unless something drastic happens, this venerable order will be facing dissolution. As the meeting progresses, the line between reality and re-enactment begins to blur, ancient forces are awoken, and it soon becomes clear that there is much more at stake than a mock medieval tournament. A breathtaking work, moving and inspiring.

• Venue : Théâtre Maisonneuve
• Producer / Presenter :  Danse Danse
• Language : presented in English with French surtitles.
• Duration : 93 minutes
• Photo : © Michael Slobodian. Performer Renée Sigouin.

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Available online, by phone or at the Place des Arts box office.

Information

Venue: vancouver playhouse.

DanceHouse presents Kidd Pivot - Assembly Hall

Created by Crystal Pite and Jonathon Young

A group of medieval re-enactors have come together for an Annual General Meeting in their local community hall. As the Board of Directors, they oversee an event called “Quest Fest” that has fallen on hard times: membership is dwindling, debt is mounting, and the hall is falling apart. Unless something drastic happens, the Directors of this venerable order will be facing dissolution. As the meeting progresses, the line between real and re-enactment begins to blur, ancient forces are awoken, and it soon becomes clear that there is something much more at stake here than a mock-medieval tournament.

From the team that brought you the ground-breaking, award-winning productions of  Betroffenheit   and  Revisor , comes Kidd Pivot’s latest offering: a dance theatre hybrid that promises the company’s signature wit and invention. Fuelling Kidd Pivot’s work is a fascination with story and the role of language as an animating force.

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Kidd Pivot (Vancouver) – SOLD OUT

Assembly hall.

Created by Crystal Pite and Jonathon Young

October 25-28, 2023 | 8pm  Preview on October 25 & World Premiere on October 26 Vancouver Playhouse (600 Hamilton Street) 

World Premiere Running time: approximately 90 minutes

Pre-show Talks: October 27 & 28, 7:15pm (Upper Lobby) Guests: Crystal Pite and Jonathon Young Moderators: Marcus Youssef (Oct 27), Carmen Aguirre (Oct 28)

Post-show Social following the Friday performance in the Playhouse salons

A group of medieval re-enactors have come together for an Annual General Meeting in their local community hall. As the Board of Directors, they oversee an event called “Quest Fest” that has fallen on hard times: membership is dwindling, debt is mounting, and the hall is falling apart. Unless something drastic happens, the Directors of this venerable order will be facing dissolution. As the meeting progresses, the line between real and re-enactment begins to blur, ancient forces are awoken, and it soon becomes clear that there is something much more at stake here than a mock-medieval tournament.

From the team that brought you the ground-breaking, award-winning productions of  Betroffenheit and  Revisor , comes Kidd Pivot’s latest offering: a dance theatre hybrid that promises the company’s signature wit and invention. Fuelling Kidd Pivot’s work is a fascination with story and the role of language as an animating force.

Presentation Supporters

Anndraya Luui Sonya Wall

“Pite is an image-maker of rare distinction.” – The Australian

“Jonathon Young is radiant. This guy always looks like he’s lit from within.” – The Georgia Straight

“Utterly compelling…one of the most visually memorable and emotionally powerful performances of the festival.” – Chris O’Rourke, The Examiner (Dublin)

“The choreography and performances…were enthralling, I was so engrossed I nearly forgot to breathe…an evening of dance/theatre that’s as thrilling as it is affecting.” – Mooney on Theatre

Message from the Creators

Sometimes these things begin with a concrete premise or proposition, but we were starting from scratch. It was early spring, and we were meeting over coffee one bright morning for the first conversation about our next project.  Neither of us knew what the other was thinking and both had come with only the faintest inkling about what terrain we might want to explore next. 

By the end of that meeting though, a group of individuals had assembled in our imagination. They were gathered around the remnants of an old story – a story, it seemed to us then, that they were caring for and keeping alive. Were they Historians? Folklorists? Conservators? How had this story drawn them into its orbit? What was the connection? Perhaps these people needed this story as much as the story needed them. Or perhaps the story itself was secondary to that age-old human need to congregate; to participate in a communal activity; to be recognized and feel a sense of belonging.  Then Spring became Summer, and Summer, Fall. Then Winter came and before we knew it, a year had passed. 

A quick scan through our various exchanges over the course of that year reveals something of the meandering route we took to arrive at Assembly Hall. Although many signposts were left along the way, with headings written in bold above paragraphs of what seemed essential information at the time, the truth is, many of the paths we so eagerly blazed are now overgrown. Here are some examples from the trail:

The Shirt of St. Louis. The Lund Astronomical Clock. An Automated Display of Two-dimensional Figures. A Collection of Fragile Artifacts. An Unexpected Reunion, by Johann Peter Hebel.

“The spirits that I summoned I now cannot rid myself of again.” Goethe

The Quest to Fail, the Medieval Presence in Modernist Literature , by Jonathan Ullyot.

From Ritual to Romance, by Jessie Weston. Perceval, by Chrétien De Troyes.

The Chapel Perilous. The Harrowing of Hell. The Hour of Recollection.

“Absence is the form God’s presence takes in this world.” Simone Weil

The Royal Antediluvian Order of Buffaloes. A History of the Elks. 

The Society for Creative Anachronism. 

“There is no death.” Guy W. Ballard. 

Roberts’ Rules of Order. Ten Laws for Great Governance.  A Bunch of Amateurs by Kim Hopkins. 

A small community hall used by a variety of different groups.

Was there a more obvious, more direct route to get here? It may have been more efficient to avoid the forest and stay on the road.  Then again, if we’d taken a different route, with a different group of people, this particular hall might never have been found.  Despite its many mysteries, Assembly Hall emerged from familiar memories. It’s as though we spent some of our childhood here attending recitals, or fundraisers, or ceremonies, or pageants, or potlucks. It was built by a group of people who came together on a common quest; A group of people who sat together, hour after hour, conjuring it, sketching it, speaking it into existence, listening for how it sounded, and for what it might say.  A group of people who struggled to maintain and restore it when it seemed on the verge of falling apart; A group of people who believed in it and fought for it at each twist and turn. A group of people who, through the passing of seasons, filled this little hall with life.  Welcome. We’re grateful you’re here. 

– Jonathon and Crystal

About the Company

Integrating movement, original music, text, and rich visual design, Kidd Pivot ’s performance work is assembled with recklessness and rigour, balancing sharp exactitude with irreverence and risk. Under the direction of internationally renowned Canadian choreographer Crystal Pite, the company’s distinct choreographic language — a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation — is marked by a strong theatrical sensibility and a keen sense of wit and invention.

Kidd Pivot tours extensively around the world with productions such as  Betroffenheit (2015), The Tempest Replica  (2011),  The You Show  (2010),  Dark Matters  (2009), and Lost Action  (2006).

Since 2015, Kidd Pivot has measured its touring carbon footprint and offset over 400 tonnes of CO 2 e (carbon dioxide equivalent), enabling Kidd Pivot to be one of the first dance companies to tour carbon neutral.

About the Co-Creators

Crystal pite.

Artistic Director, Co-Creator, Choreographer, Director

In a choreographic career spanning three decades, Crystal Pite has created over 50 works for companies including The Royal Ballet, The Paris Opera Ballet, Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Ballets Jazz Montréal (resident choreographer 2001–04), and Cedar Lake Contemporary Ballet. Pite is a Member of the Order of Canada, and is the recipient of numerous awards including the Benois de la Danse, Canada Council Jacqueline Lemieux Prize, Grand Prix de la danse de Montréal, two UK Critics’ Circle Dance Awards, four Laurence Olivier Awards, and the 2022 Governor General’s Performing Arts Award. She began her dance career as a company member of Ballet British Columbia (Ballet BC), then William Forsythe’s Ballett Frankfurt, and is currently Associate Choreographer of Nederlands Dans Theater I, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist at Sadler’s Wells in London. She holds an honorary Doctorate of Fine Arts from Simon Fraser University and is a Member of the Order of Canada. In 2002, she formed Kidd Pivot in Vancouver.

Jonathon Young

Co-creator, Writer and Director, Voice Actor

Jonathon Young is playwright-in-residence at Kidd Pivot and a core artist and co-founder of Electric Company Theatre, where he has created and performed in over 20 original productions since the company was formed in 1996. He has worked as an actor on stages across Canada including Soulpepper Theatre (King Lear), Coalmine Theatre (Knives in Hens), Luminato Festival, Vancouver Playhouse (Full Light of Day), Necessary Angel (All but Gone), Theatre Calgary, (No Exit, The Great Gatsby), Bard on the Beach, (Hamlet). Assembly Hall is the third full-length work created with Crystal Pite after Betroffenheit (2015) and Revisor (2019). In addition, he wrote the text for two projects at Nederlands Dans Theater (Parade and The Statement). Jonathon is the recipient of the UK National Dance Award.

About the Creative Team

Owen belton.

Composition and Sound Design

Owen Belton lives in Vancouver, Canada and graduated from Simon Fraser University with a degree in Fine and Performing Arts (concentration Music). He has been composing for dance for the last 25 years as well as creating sound design and music for live theatre for the past 15 years. Owen has created pieces for The Paris Opera, Ballet Nuremberg, Electric Company Theatre, The Arts Club, as well as Nederlands Dans Theatre and of course Kidd Pivot.

Alessandro Juliani

Composition and Sound Design, Voice Actor

Alessandro is a Vancouver-based multi-disciplinary artist. He has previously collaborated with Kidd Pivot as a composer and sound designer on Revisor, Betroffenheit, and Tempest Replica. Other credits include: The Lady from the Sea, Trifles, Prince Caspian, On The Razzle and Middletown (Shaw Festival/Crow’s Theatre), To Kill A Mockingbird (Stratford Festival); The Great Leap, Angels in America: Millennium Approaches and Perestroika, Saint Joan, Master Class, The Penelopiad. (Arts Club); Coriolanus, Timon of Athens, The Tempest, Hamlet, Twelfth Night, Troilus and Cressida, Rosencrantz and Guildenstern are Dead, Bard on the Beach; King Lear, NAC; All the Way Home, Palace Grand, Electric Company; Vigil, Mark Taper Forum, A.C.T., Theatre Calgary; You used to call me Marie, Savage Society; Bunny, Search Party; Little Women, Theatre Calgary; The Madonna Painter, Centaur Theatre; The Miracle Worker, Equus, Vancouver Playhouse. Film and TV credits include: Donkeyhead, Netflix; Big Trees, NFB; Wait for Rain, Motion 58.

Voice Direction, Composition and Sound Designer, Voice Actor   

Meg’s work as an actor, director, composer, sound designer, and dramaturg has been seen across the Canada at Crows Theatre, Shaw Festival, Theatre Calgary, Canadian Stage, Factory Theatre, PuSh Festival, Alberta Theatre Projects, SoulPepper, Bard on the Beach, Theatre Junction, Citadel Theatre, Ruby Slippers Theatre, Electric Company Theatre, Blackbird Theatre, Theatre Aquarius, Arts Club, Belfry, Theatre SKAM, Manitoba Theatre Centre, Catalyst Theatre, RealWheels, Intrepid Theatre, Elbow Theatre, Vancouver Playhouse, Western Canada Theatre, National Arts Centre, Centaur Theatre, The Banff Centre, Yukon Arts Centre, Prairie Theatre Exchange, Why Not Theatre, Savage Society, vAct,Theatre Replacement, Rumble Theatre, The Cultch, Prairie Theatre Exchange, Luminato Festival, and internationally with the American Conservatory Theatre (San Francisco), Center Theater Group (Los Angeles), and as a collaborator with Crystal Pite’s renowned dance company Kidd Pivot. She scored Esie Mensah’s short film Tessel, and Why Not Theatre’s feature What You Won’t Do For Love.

Jay Gower Taylor

Scenic Design 

As a scenic designer Jay Gower Taylor has collaborated with Crystal Pite since 2008, creating onstage environments for works such as Figures in Extinction [1.0], The Statement, Parade, Plot Point, Frontier, Solo Echo, In the Event and Partita for 8 Dancers, for Nederlands Dans Theater 1; Emergence and Angels’ Atlas (a co-production with Zurich Ballet) for the National Ballet of Canada; Polaris for Sadler’s Wells; The Seasons’ Canon and Body and Soul for The Paris Opera Ballet; and Flight Pattern / Light of Passage for The Royal Ballet. For Pite’s own company, Kidd Pivot, he designed Dark Matters, The Tempest Replica, Betroffenheit, and most recently, Revisor.

Nancy Bryant

Costume Design 

Nancy Bryant works widely as a designer in dance, theatre, opera and film. Her home is on the west coast of Canada in Vancouver. Previous collaborations with Pite include Body and Soul and The Seasons’ Canon (Paris Opera), Flight Pattern (Royal Ballet), Figures in Extinction, Partita, Parade and Plot Point (Netherlands Dance Theater), Revisor, The Tempest Replica (Kidd Pivot) and Betroffenheit (Kidd Pivot/Electric Co.), Angels’ Atlas (National Ballet of Canada / Zurich Opera House), and most recently, Light of Passage (Royal Ballet / Norwegian National Ballet). Bryant’s work has brought her together with various teams of fellow designers, directors, writers and choreographers to theatres and production workshops across Canada, the USA, the UK and to Europe. Her approach to costume design has been influenced by her visual arts background and many years of exceptional collaborations with some of Canada’s most innovative and groundbreaking theatre artists.

Lighting Design

Tom Visser grew up in the countryside of west Ireland. At the age of 18 he started working in music theatre through his theatrical family and in dance through the Nederlands Dans Theater. Since 2005 he has created original designs for choreographers including Crystal Pite, Alexander Ekman, Johan Inger, Stijn Celis, Lukas Timulak, Sharon Eyal, Hofesh Shechter, and more.

Cybèle Young

Video Design 

Cybèle Young is a multidisciplinary artist and author best known for her intricate Japanese paper installations and children’s books. More recently, her practice has encompassed photography, ceramics, stop-motion film, video, and kinetic works. Young’s works form relationships where the mundane coincides with the surreal, and the ebb and flow of growth and regression reside on equal planes. Sculptures manifest as one-act plays, and large tableaux map clues to epic stories. She studied at the Ontario College of Art and Design, since having mounted over twenty solo and thirty group exhibitions, and has received multiple grants and awards, including Canada’s Governor General’s Award. Cybèle is represented by Forum Gallery NYC, and her books are published worldwide, currently with Penguin Random House.

Show Control and Sound Programmer

Eric Chad is an lighting/projection artist and show control/integration specialist based in Vancouver, B.C. Eric’s work blends interactive elements, generative design, and live tracking into his love for natural forms. Eric’s recent credits include works with Emma Portner, Electric Company Theatre, Out Innerspace Dance Theatre, Crystal Pite, Action at a Distance, Joe Ink, Plastic Orchid Factory, Shay Kubler Radical System Art, Kidd Pivot, and Chuthis. Eric is one of the founding members, and the current Technical Director of Lobe Studio in Vancouver BC, the first permanent 4DSOUND venue in North America. Eric was also a primary designer on Sanctuary: The Dakota Bear Ancient Forest Experience, and The Canadian Pavilion at the Dubai Expo. Eric received his Master of Fine Arts from the University of British Columbia, and a Bachelor of Science from McGill University.

Eric Beauchesne

Assistant to the Creators

Born in Québec, Eric has been on stage with Les Grands Ballets Canadiens, the Badisches Staatstheater Karlsruhe and Les Ballets Jazz de Montréal, as well as with Canadian contemporary dance icons such as La Fondation Jean-Pierre Perrault, Paul-André Fortier, Louise Lecavalier and Crystal Pite. Company member since 2004, Eric now collaborates with Kidd Pivot as associate artistic director, and stages Pite’s work on companies worldwide. Eric has served as guest teacher for several organizations as well as rehearsal director for Nederlands Dans Theater. He currently resides in Holland and devotes his spare time advocating for climate action in the dance world.

About the Performers

Brandon alley .

Born and raised in North Carolina, Brandon Lee Alley is a multi-hyphenate artist residing on the unceded territories of the Coast Salish Peoples: Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations. Brandon began his professional career with Hubbard Street 2 followed by one year with BODYTRAFFIC in LA. In 2015, he joined Ballet BC. After 5 seasons, he continued to perform and collaborate with numerous companies and artists within Vancouver such as Company 605, Idan Cohen and Rachel Meyer. In 2022, Brandon joined Kidd Pivot for Revisor and was a member of the final global tour. In 2019, Brandon co-founded Dance//Novella – a contemporary dance company based in Vancouver, Canada. In addition to creating dance, Brandon is also an Audio Engineer with a diploma from SAE North Vancouver. He has made several original scores for dance and is excited to continue developing his musical journey.

Livona Ellis 

Livona Ellis was born in Vancouver on the unceded territories of thexwməθkwəyə̓m (Musqueam), Sḵwxw̱ú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. She has performed with Ballet BC (11 seasons), Buhnen Bern, Mascall Dance and Rachel Meyer. Livona has created works for Dances for a Small Stage, Dance Deck, Public Salon 2019, Contemporary Art Gallery Gala 2018, Arts Umbrella Season Finale, and Ballet BC Take Form. In 2017 she received the Vancouver Mayor’s Arts Award for Emerging Artist and in 2023 received the inaugural Louise Bentall Biennial Award for Emerging BC Choreographers.

Livona joined Kidd Pivot in June 2023 and is currently collaborating with NYC based artist Rebecca Margolick on the creation of their full length duet “Fortress”.

Rakeem Hardy

Rakeem Hardy (they/them), originally from Toronto, Canada, received their BFA from the State University of New York at Purchase College. In 2020, they were the recipient of the Thayer Fellowship Award. Through their time at Purchase, they performed works by Ohad Naharin, Doug Varone, Sidra Bell, Norbert De La Cruz III, and Roderick George. Rakeem has had the pleasure of performing with A.I.M by Kyle Abraham, Loni Landon Dance Projects, and Gallim Dance. Rakeem joined Kidd Pivot in 2022. 

Gregory Lau 

Gregory Lau was born in Honolulu, Hawaii where he began his training at Mid-Pacific Institute School of the Arts. After attending The Juilliard School, he moved to join Nederlands Dans Theater 2 in 2013 and went on to join Nederlands Dans Theater 1 in 2016. After leaving the Nederlands he went on to join Kidd Pivot in 2019. Gregory was featured in Doja Cat’s 2021 VMAs performance. During his career he has helped to stage ballets for NDT2 and The Norwegian Opera & Ballet. He has been a recipient of the National Foundation for Advancement in the Arts Award in both Modern Dance and Ballet. He has also worked with choreographers such as Jiří Kylián, Crystal Pite, Ohad Naharin, Sharon Eyal, Camille A.Brown, Marco Goecke, Paul Lightfoot & Sol Leon, Hans Van Manen, Johan Inger, Medhi Walerski, Alexander Ekman, Imre & Marne Van Opstal and Bobbi Jean Smith. 

Doug Letheren 

Doug is from New Hampshire USA, and is a graduate of The Juilliard School.  He danced with Mikhail Baryshnikov’s Hell’s Kitchen Dance before joining the Batsheva Dance Company, where he worked with Ohad Naharin and Sharon Eyal from 2007 – 2012.  Doug was then a founding member of Sharon’s company, L-E-V, until 2015, and danced with the Tanztheater Wuppertal Pina Bausch from 2016 – 2019.  He has also performed with the GoteborgsOperansDanskompani, Alan Lucien Øyen’s Winterguests, Aszure Barton, Adam Linder, Ella Rothschild, and in films such as Georgia Parris’ Mari for the BBC, and Apart and Voyeur, collaborations with dancer Silas Henriksen, filmmaker Cecilie Semec, and the Norwegian Opera and Ballet. Doug has been a choreographic assistant to Sharon Eyal, Adam Linder, and Bobbi Smith for companies such as Netherlands Dance Theater, Royal Swedish Ballet, Paris Opera Ballet, and Ballet de Lorraine. He is a recipient of the 2007 Movado Future Legends Award, nominated by Mikhail Baryshnikov, and a 2019 “Der Faust” German Theater Prize nominee for Dancer of the Year. Doug joined Kidd Pivot in 2018.

Rena Narumi 

Rena Narumi was born in Japan. She trained at Centre d’art chorégraphique Franco-Japonais  in Paris France and Arts Umbrella dance graduate program in Vancouver BC under the direction of Artemis Gordon and Lynn Shepard. After her graduation, she performed with ProArteDanza, Hessischen Staatstheaters Wiesbaden, Royal Swedish Ballet (RSB), and Nederlands Dans Theater 1 (NDT1). She has worked with renowned choreographers such as Mats Ek, Crystal Pite, Ohad Naharin, Sol Leon/Paul Lightfoot, Johan Inger, Alexander Ekman, Orjan Andersson, Sharon Eyal, Franck Chartier/Gabriela Carrizo (Peeping Tom), Emily Molnar, and more. With RSB in Sweden, she performed the main role of Juliet in Juliet and Romeo by Mats Ek in many theaters, including Paris Opera Garnier in Paris and Sadler’s Wells Theater in London. With NDT1, she traveled all over the world to perform. She was an apprentice with Kidd Pivot for season 2010/2011, part of the artistic team for The You Show. Rena is delighted to be rejoined with Kidd Pivot.

Ella Rothschild 

Ella Rothschild was born in Israel and is a choreographer, multidisciplinary artist and dancer. Since 2010, Rothschild has been creating her own works in collaboration with various artists from different disciplines. Her works include: Acord, 12 Postdated Checks, Judah, Jesus with Soy, Sal, Flood, Dood, IMO the mouth is redundant, Feed, Timeline, Futuristic Space, Unpair and Formula. Rothschild received the Rosenblum Performing-Arts Award by the city of Tel-Aviv for promising creator of 2016, as well as the ministry cultural award. In 2017 she received the Israeli Ministry of Culture Award for the best solo performer. From 2013 to 2023, Ella created and performed twelve of her works in Israel, Europe, Japan, and the US. In 2020 Ella received a residency at Baryshnikov art center (NYC) and was named an artist in residence in the Suzanne Dellal Centre’s inaugural residency program where she created her work Pigulim. In 2021 Ella created Summer snow, on the edge of nowhere, and A Year Without Summer which are a trilogy of artworks for the Batsheva Dance Company. This year Ella created Milk teeth as part of Kammerballetten festival in Copenhagen and is creating for the Royal Ballet of Flanders a new creation for Stravinsky music Petrushka, which will premiere this in December.

Renée Sigouin 

Renée was born in Saskatchewan and moved to Vancouver in 2008. Since graduating from Modus Operandi contemporary dance program in 2012, she has performed in several works with Out Innerspace Dance Theatre, Joshua Beamish/MOVETHECOMPANY, Company 605, Wen Wei Dance, Mascall Dance, Kinesis Somatheatro & EDAM. She joined Kidd Pivot in 2018.

About the Voice Actors

Voice Actor

Ryan Beil is a comedian, actor and writer based in Vancouver, BC. He holds a BFA in acting from the University of British Columbia and has become a fixture on local stages. He has won two Jessie Richardson Theatre Awards. Selected Theatre Credits: Angels In America, Parts 1&2 – Arts Club. Twelfth NIght / Comedy of Errors – Bard On The Beach. Billy Bishop Goes To War –  Arts Club/Belfry. Undeveloped Sound – Electric Company. Ryan is also involved in the world of Film and Television, with two Leo Awards to his name. Selected Film/TV Credits: iZombie – The CW Mech X4 – Disney The X-Files – FOX Trial & Error – ABC You, Me, Her – eOne, Are You Afraid of the Dark, Nickelodeon, Turner & Hooch, Disney. You can also catch Ryan every Sunday at the Fox Cabaret in Vancouver, performing with The Sunday Service: The Legendary improv comedy troupe he co-founded.

Marci T. House 

Marci T. House is an American/Canadian (Canerican) actress of stage, voice, film/tv, and also a producer. Hailing from the south-side of the city of Chicago, she now makes her home in

Vancouver, BC in Canada. Marci is a NAACP Theater Award (Los Angeles) & Jessie Theatre Award (Vancouver, BC) nominated actress and set designer, and now works as a professional actor in both the U.S., and Canada. A graduate of Louisiana Tech University (B. Of Arch.), and the University of Illinois Chicago (MUPP), where she not only studied acting, but also studied architecture and urban planning, policy & design. Marci has also had a vast array of theatrical training with Diane Hardin (Young Actors Space-LA), Bill Duke (Actor’s Boot Camp-Miami & LA), Michele Lonsdale Smith (Lyric School of Acting-Vancouver, BC), and Susan Batson, Greg Braun, and Christian Contreras (Black Nexxus/Susan Batson Studios/New Collective Acting Studio –LA, NYC & Vancouver).

Gabrielle Rose

Gabrielle Rose is a veteran award winning film, television and theatre actress with more than 50 years experience . Most recently she has appeared in a number of series for television such as Night Agent, Virgin River, and Yellow Jackets. Her large resume of theatre roles includes Martha in ‘Who’s Afraid of Virginia Woolf, Amanda in ‘The Glass Menagerie’, Mrs. Malaprop in ‘The Rivals’ Queen Elizabeth in ‘Elizabeth Rex. Gabrielle has received numerous awards for her work in film, TV and theatre. She has also received several lifetime achievement awards: The Sam Payne, Woman of the Year for Vancouver Women in Film, Vancouver Critics lifetime achievement, the Lorena Gale Woman of Distinction, and has a star in the Vancouver Walk of Fame. This past year she worked with Bruce Sweeney on his latest film, “She Talks to Strangers” which will premiere at the Whistler Film Festival. Currently Gabrielle is working on an indie feature called “Hanne and the High Sea” and she will be onstage in the new year at the Belfry Theatre in Christine Quintana’s new play ‘As Above’ directed by Meg Roe.

Amanda Sum (she/her) is a performer and creator who dances between theatre and music. Amanda has collaborated on many interdisciplinary theatre based works, which have brought her to perform and present works at the Smush Gallery (Jersey City) at On The Boards (Seattle), Fury Factory Festival of Ensemble and Devised Theatre (San Francisco), and Summerworks (Toronto). As an actor, Amanda’s recent credits include 4 seasons of the East Van Panto (Theatre Replacement), and Sense and Sensibility (The Arts Club). Amanda’s debut indie-pop album, New Age Attitudes, was released in the fall of 2022. Her music video, Different Than Before was JUNO-Nominated for Music Video of the Year, and won the SXSW Music Video Jury Award. As Theatre Replacement’s COLLIDER Artist, Amanda created New Age Attitudes: Live in Concert. Part pop-up book, part performance, this experimental theatre piece premiered in the spring of 2023, and will tour in 2024. Amanda holds a BFA from SFU. Antics and updates: @amanduhsum /  www.amandasum.com

Vincent Tong

Vincent’s favourite theatrical roles: West Side Story (Chino) Vancouver Opera, Beauty & the Beast (LeFou), Altar Boyz (Juan) Arts Club, and La Cage aux Folles (Jacob) Playhouse Theatre. Vincent’s voice work has been heard around the world in Disney’s Ice Age The Adventures of Buck Wild where he played Crash, the lovable possum, alongside Simon Pegg. Other recent releases: Kai in Lego Ninjago Dragon’s Rising, Knuckles in Sonic Prime, and Megaman in Megaman Fully Charged.  His television appearances include Love Hard, Arrow, Transporter The Series, and Fringe. Thank you to Crystal, Jonathon, and Meg for asking me to be a part of this show.

About the Moderators

Carmen Aguirre

Marcus Youssef

Top image: Kidd Pivot, Renée Sigouin in Assembly Hall © Michael Slobodian.

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Kidd Pivot – November 29 to December 2, 2023

Danse Danse presents

Kidd Pivot – Assembly Hall

Electrifying dance theater!

A highly anticipated new work by acclaimed choreographer Crystal Pite , following the massive success of Revisor and Betroffenheit . A brilliantly orchestrated, highly energetic and inventive hybrid of dance and theatre.

Crystal Pite is known around the world for works that courageously address such challenging and complex themes as trauma, addiction, conflict, consciousness, and mortality.

Hailed by the British newspaper The Guardian as “a 21st-century dance genius,” Crystal Pite is one of Canada’s most prominent choreographers. Assembly Hall , her new co-creation with playwright Jonathon Young for the eight wonderful performers of Kidd Pivot, springs from the fascination with story and the role of language as an animating force that fuels the company’s creative process. A group of medieval re-enactors have gathered in the local community hall for their annual general meeting. The event they are organizing has fallen on hard times, and unless something drastic happens, this venerable order will be facing dissolution. As the meeting progresses, the line between reality and re-enactment begins to blur, ancient forces are awoken, and it soon becomes clear that there is much more at stake than a mock medieval tournament. A breathtaking work, moving and inspiring.

Language: presented in English with French surtitles. Post-show talks with the artists: Wednesday, Nov 29, 2023 Friday, Dec 1, 2023

Théâtre Maisonneuve Wednesday, November 29, 2023 at 8:00pm Thursday, November 30, 2023 at 8:00pm Friday, December 1, 2023 at 8:00pm Saturday, December 2, 2023 at 8:00pm

To purchase tour tickets visit: www.placedesarts.com

World-renowned for radical hybrids of dance and theatre, Kidd Pivot creations are assembled with a keen sense of wit and invention. Led by Canadian choreographer and director Crystal Pite, the company is unflinching in the face of such challenging and complex themes as trauma, addiction, conflict, consciousness and mortality. Pite’s bold and original vision has earned her international acclaim and inspired an entire generation of dance artists.

Kidd Pivot strives to distill and translate universal questions into artworks that connect us to profound and essential parts of humanity. “Running through all of our work is the question of what moves us,” says Pite.

Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co-created with playwright Jonathon Young), The Tempest Replica, Dark Matters, Lost Action, and The You Show. Since 2015, Kidd Pivot has measured its touring carbon footprint and offset over 1000 tonnes of CO2e (carbon dioxide equivalent), enabling Kidd Pivot to be one of the first dance companies to tour carbon neutral. Learn more about Kidd Pivot’s active efforts with 1Day for the Climate campaign here.

Kidd Pivot is a proud member of the Canadian Dance Assembly.

Photo: Four Eyes

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Kidd Pivot’s Assembly Hall is a convocation of half-formed ideas

This article was published more than 6 months ago. Some information may no longer be current.

A scene Assembly Hall. From the left: Rakeem Hardy, Livona Ellis, Renée Sigouin, Doug Letheren, Brandon Alley, Rena Narumi, Gregory Lau, and Ella Rothschild. Kidd Pivot

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• Title: Assembly Hall
• Created by: Crystal Pite and Jonathon Young
• Company: Kidd Pivot presented by Canadian Stage
• Venue: Bluma Appel Theatre, 27 Front Street East
• City: Toronto

What is the role of community in a profit-driven world? This might be the central question of the eclectic and discursive Assembly Hall , the latest Kidd Pivot collaboration by choreographer Crystal Pite and playwright Jonathon Young. Or it might not be. The 80-minute work about a society of medieval re-enactors whose re-enactment becomes a reality of its own is like a half-finished Bayeux tapestry: It dangles with dozens of colourful threads that are never quite woven together.

It is a testament to the incredible artistry of its creators, who brought us the internationally acclaimed Betroffenheit and Revisor , that this rich clutter of themes, motifs and references is compelling, if not entirely comprehensible. The piece opens on a subtly mannered community gymnasium (designed by Jay Gower Taylor), with a basketball hoop in the background, exit signs over bifold doors, a tasselled banner hanging on an austere wall, and a curtained stage for amateur shows.

An intriguing duet acts as a prelude: A woman (Renee Sigouin) kneels over the body of an unreactive man (Gregory Lau), and manipulates his limbs into motion. Their quiet communion is interrupted by the arrival of fellow members of the Benevolent and Protective Order, who arrange themselves on plywood chairs and launch into an animated debate over points of protocol, motions to move and when it’s appropriate to serve refreshments.

To deliver dialogue, Pite and Young use a convention that has become their signature style: The eight dancers lip-synch text that has been prerecorded by actors, making staccato-like gestures to emphasize certain words. In Betroffenheit (2016), the technique was a powerful way of symbolizing the dislocation between a traumatized man’s mind and body. Here, it feels more like farce, with the dancers miming tons of text that we intuit, by virtue of its breadth and jargon, to be superfluous – a chattery soundtrack of background noise.

Characters are drawn quickly and stereotypically – we get the keener, the dud, the eccentric, the boss – and there’s dizzying discord about some “unfinished business” that remains unclear.

Things get interesting in the second half, when the society’s re-enactment exercise (called Quest Fest) begins and images start to recur, blend and collapse into each other. Dancers in knight helmets form linear configurations across the stage, dramatic battle scenes flow by as though moving through time, intimate duets unfold to segments of piano concertos.

The board chair appears half-naked in an exaggerated paper crown, performing balletic jumps and dying-swan lunges. Upstage, the curtains are pulled to reveal candle-lit tableaux of suffering. In one, a bare-chested man lies on a table twitching violently, suggesting both the religious paintings of the era and the dissection theatres that came soon after.

Violence and death are tantalizing themes that keep recurring. A man performs a muscular, floor-oriented solo set to sounds of clanging metal, as though his body becomes the point of contact between two swords. A crow-like figure feeds off the limp body of another dancer, until their symbiotic relationship becomes so consumptive and intense it appears sexual. A damsel in distress careens madly in off-balance zigzags, bewailing the death or loss of her beloved knight.

Who is this dead or missing knight? He might be the limp body from the prelude – a figure who might also be the dud character from the first half, a reluctant participant in the re-enactment. He might be the club member who failed to show up, which can account for the empty chair at the meeting. He might be God, or death, or the story itself, or simply the guy in full armour who shows up at the end.

Of course, the ambiguity is intentional, but in a work with so many overlapping ambiguities, we get lost in the layers and can’t grip anything firmly enough to take it away. Judging by Pite and Young’s program note, in which they refer to Assembly Hall’s “many mysteries” and explain its roundabout way of coming to be, it sounds as though they’re aware that they’ve included more than their form can contain.

There are fascinating ideas here about storytelling and repetition compulsion, ritual and sacrifice, death and community, but the blade needs sharpening, and the armour needs some more polish.

Assembly Hall continues at the Bluma Appel Theatre, Canadian Stage, until Dec. 10.

In the interest of consistency across all critics’ reviews, The Globe has eliminated its star-rating system in film and theatre to align with coverage of music, books, visual arts and dance. Instead, works of excellence will be noted with a critic’s pick designation across all coverage. (Television reviews, typically based on an incomplete season, are exempt.)

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Owner/ Artistic Director

Ballet technique, pointe, variations, pas de deux, contemporary ballet, men’s class, competition choreographer.

Born in Russia, Ilya Burov graduated from The Russian School of Ballet in Saratov in 2003. Following school he joined The Moscow Classical Ballet under the artistic direction of Natalia Kasatkina and Vladimir Vasilev where he danced many lead roles. Burov was quickly recognized and was asked to perform as a principal guest artist with many companies across Russia and Europe. In the same year, he also mastered his advanced degree with the Moscow Academy of Choreography.

In 2005 Burov moved to the United States where he performed for many professional companies across America.  In 2006 he was a part of Festival Ballet Providence where he worked for several years as a principal dancer. He has also toured with many companies dancing in Italy, China, Spain, Israel, Greece, India, Mexico, Venezuela and Serbia.

Burov has performed principal and lead roles in many ballets including Cinderella, Swan Lake, Sleeping Beauty, The Nutcracker, Don Quixote, Giselle, Scheherazade, Romeo and Juliette, Balanchine’s ballets such as Rubies, Allegro Brilliante, Tarantella pas de deux, Donizetti Variations, Anthony Tudors Continuo and Leaves are Faiding, and many modern/contemporary works composed for the artist.

Burov has experience working with many internationally acclaimed choreographers and teachers such as Natalia Kasatkina, Boris Lawrowski, Sandra Jennings, Amanda Mckerrow and John Gardner of ABT.

In 2014 he received several awards from the Rhode Island Government. He was recognized for his outstanding achievement in Art from the Mayor of Providence RI, Angell Taveras, Speaker of the House and the Governor for his artistic contributions to the City and State.

Burov also has a great passion for teaching and coaching. Since 2007 he has been part of the faculty in many schools and companies across the world.

In 2015 he became the Artistic Director of Alaska Dance Theatre.

Ilya Burov is the proud Owner and Artistic Director of The Portsmouth School of Ballet and continues  to bring the new generation of dancers to the next level.

Emily Loscocco

Ballet technique, pointe, variations, pas de deux, young children’s program, contemporary ballet, strength & conditioning, competition choreographer.

Emily Loscocco began her dance training in her hometown of Holliston Massachusetts. At the age of fifteen she left home to attend school at the Kirov Academy in Washington D.C. There she received training from Galina Kozlova in the Vagonava style. The next year Ms. Loscocco attended a su mmer program with The Orlando Ballet under the direction of Bruce Marks. She was asked to stay and received her first job with a professional ballet company. While dancing in Orlando Emily participated in the Youth America Grand Prix, dancing her way to the final round she placed top twelve and was offered multiple scholarships. 

Emily has also danced with Ballet Met in Columbus Ohio and as a guest artist across the country and Europe. In 2012 Emily traveled to Mongolia to perform with Boston Ballet’s Altan Dugaraa in Roland Petit’s “Pink Floyd Ballet” where she performed for the president and the Japanese Ambassador.  She danced as a principal dancer in the United States and has been guesting internationally. In 2015 Emily danced as a principal guest artist with Alaska Dance Theatre and taught daily at their school. Emily has gained a national reputation as a highly sought after dance instructor and is a freelance dancer represented by a well- known agent in New York City.

Her repertoire includes Bruce Marks’ Swan Lake; Wayne Stewarte’s Coppelia (Swanhilda); Marius Petipa’s La Bayadere(Nikia); Bruce Simpson’s A Midsummer’s Night Dream (Tatiana); Sleeping Beauty (Lilac fairy); The Nutcracker (Snow Queen, Dew Drop fairy, Sugar Plum fairy); George Balanchine’s Apollo (Calliope); Leading roles in George Balanchine’s Who Cares?, and Agon; Principal in George Birkadze’s Taming of the Shrew, My Sorrow and Dynamite; David Nixon’s Dangerous Liaisons; Dwight Rhoden’s Carm ina Burana; Bergit Scherzer’s Requiem; Bruce Simpson’s Romeo and Juliet; Fernando Bujones’s Spartacus; Princiapal in Marius Petipa’s Carnival of Venice; Twyla Tharp’s Water Babies; Principal in Richard Cook’s Dance of the Hours; Principal in Peter Stark’s Rumplstilkstin;Principal Victor Plotnikov’s Given, and Orchis; Bruce Marks Don Quixote; Devon Carney’s Speaking in Tongues and Gerard Charle’s Maestro.

 Ms. Loscocco is extremely excited to be one of the owners and artistic directors of The Portsmouth School of Ballet. She believes with her love of dance along with her knowledge and experience as a professional ballerina she is fully equipped to prepare young aspiring dancers to become successful in the dance industry.

Michelle Bruckner

Musical theater, tap, jazz, competition.

Michelle made her Broadway Debut in Chicago, The Musical. She  played the role of Sheila in A Chorus Line on The Broadway Tour of America and the European Tour. She had leading roles in five consecutive seasons at Maine State Music Theatre, and has worked at The Walnut Street Theater in Philadelphia. Her choreography credits include: West Side Story, Damn Yankees, Mame, The Mystery of Edwin Drood, Into the Woods, The Secret Garden, and many others.

Susan Endrizzi

Ballet technique, pointe, variations, pas de deux, contemporary ballet.

Susan Ingraham Endrizzi began her training at the Robertson School of Classical Ballet. In 1994 she received her B.F.A. in dance performance from Butler University. Her professional credits include performances with Ballet New England and Ballet Theatre of Pennsylvania. Susan joined Jose Mateo’s Ballet Theatre of Boston in 1995 where she danced original choreography for 9 years, taught all levels for 8 years, and was a rehearsal assistant for 2 years. She has been on the faculty of Portsmouth School of Ballet since 2005 teaching ballet, pas de deux and pointe technique. Susan is also a ballet professor at the University of New Hampshire.

Kelsie Crowley

Hip-hop, lyrical, competition choreographer.

Kelsie Crowley, a 24 year old professional dancer from Boston, Massachusetts, currently dancing on Unyted Stylez Hip Hop crew run by Ricardo Foster Jr., and Phunk Phenomenon based out of Boston. Having trained and studied in numerous forms of dance since an early age, and graduated from the Dean College Joanne Palladio School Of Dance with her B.A. in Dance and B.S. in Business. Though not limited to, she is known for her Hip Hop choreography and performing. Having done multiple professional performances such as concerts and music videos, in hip-hop as well as many other styles . Kelsie is invested in her students she teaches and has been teaching numerous styles of dance including Hip Hop, Contemporary, Jazz, Tap, Musical Theater, Lyrical, Ballet, Technique, Stretch and Strengthening. Her classes range in ages of children and adults, 2-18+, and she has been teaching for the past 8 years. Kelsie has a love and passion for teaching, and strives in advancing dancers not only physically but also with the knowledge and love of dance.

Savannah Lee

Ballet technique, pointe & variations.

Savannah Lee started her training with Atlanta Ballet under the direction of John McFall. At age fourteen, she reached the top of the pre professional division studying closely with many wonderful teachers including Rosemary Miles and Armando Luna and danced corps de ballet roles with the company. In Atlanta, she was in productions such as Atlanta Ballet’s Nutcracker, Micheal Pink’s Romeo and Juliet, John McFall’s Swan Lake, and Bruce Well’s Pinocchio and Snow White. Her favorite role she danced with them was the Lamb (Marzipan) in Atlanta Ballet’s Nutcracker. Savannah was one of twelve Americans to attend The Royal Ballet in Covent Garden, London the summer she studied. She furthered her training spending summers with English National Ballet, American Ballet Theater in NY, Kirov Ballet Academy D.C., Washington Ballet and Central Pennsylvania Youth Ballet.

Savannah danced professionally with Nashville Ballet 2, Brooklyn Ballet, Nomad Contemporary Ballet, Portland Ballet, Boulder Ballet, and as a guest artist in many states. In addition, she attended Brenau University on a full Presidential Scholarship for Dance under the guidance of Diane Callahan. Some memorable roles she has danced include the Sugarplum Fairy, the Lilac Fairy, Taglioni in Grand Pas de Quatre, Queen of the Dryads, the Bride of Dracula, Juliet in the Lila Dance Festival and the Moon in celestial ballet created by ABT’s Claire Davison. She had the honor of performing many roles choreographed by George Balanchine. These include the Russian Girl in Serenade, the Butterfly soloist from Midsummer Night’s Dream, the first principal pas de deux in Western Symphony, the Pizzicato Variation in Raymonda Variations and Nutcracker’s Snow Scene.

She choreographed on both Boulder Ballet and Portland Ballet’s companies, Harvard Ballet, Brenau University, her former company, Lightning Dance Collective and in the Lila Dance Festival. Lee has taught for Manhattan Movement Arts Center, Boulder Ballet, Portland Ballet, Jose Mateo Ballet Theatre, and Urbanity Dance. In 2021, Savannah became the dance program coordinator for Musical Arts of Dover, teaching all ages and directing dance performances. As a guest teacher she has taught for many dance schools including Erica Cornejo and Carlos Molina’s ballet school, Integrarte. Savannah is excited for all the moments she gets to share her love for ballet with Portsmouth School of Ballet.

Cristin Chabot

Ballet technique, pointe.

Cristin Chabot began her dance education at the age of 3. After studying with Boston Ballet and other local studios in the Boston and Cambridge areas, Cristin attended the National Academy of the Arts in Champaign, Illinois under the direction of Petrus Bosman for freshman year of high school and then moved on to attend North Carolina School of the Arts. Upon graduation from NCSA, Cristin auditioned for professional ballet companies. She landed her first job with Ballet West as a member of the corps de ballet where she performed in numerous classical ballets such as Giselle, Swan Lake, Romeo and Juliet ,The Dream, and the Nutcracker as well as many repertory pieces. After performing with Ballet West Cristin took a job performing as a soloist and teaching for Northwest Florida Ballet in Pensacola, Fl. where she eventually became the assistant director and choreographer.

Since then Cristin has accumulated over 25 years teaching dance. She teaches all levels of ballet technique and pointe. Additionally, she choreographed many pieces for Phillips Exeter Academy, Donna Coco’s Performance Plus, and Corpus Christi Ballet Academy. Cristin is also a certified Pilates instructor and had her own studio for many years. She can teach both group mat classes and individual lessons on the Pilates apparatus.

Cristin attended UMASS Boston on a full scholarship for excellence in the arts and graduated Magna Cum Laude with a BA. She also holds a Masters Degree in education from Lesley University.

Heather Easley

Contemporary, competition choreographer.

Heather Easley is a movement artist originally from Columbus, Ohio. Her training began at the age of 8 and included studies with artists Lauren Adams, Martha Nichols, Amanda Phillips-Bosshart and more while growing up. In the Spring of 2020, Heather graduated Summa Cum Laude from The Boston Conservatory at Berklee with a BFA in Contemporary Dance Performance. Her studies at the conservatory broadened her dance understanding immensely to include Limón, Release Technique, Horton, Graham, Countertechnique, and African, as well as gaining an understanding of a holistic experience of the body with anatomy, Alexander Technique, floor barre, and gyrokinesis. She has had the opportunity to work with world renowned choreographers Chien-Ying Wang, Joseph Toonga, and Loni Landon, and has performed for Missy Elliot, Justin Timberklake, John Legend, and other musical artists. In her final year, Heather founded the BPMI Dance program which gives student choreographers and dancers the opportunity to present their work at large music festivals across the country. The program aims to give real world experience to students and bridge the gap between student and professional life. BPMI Dance continues to go on at The Boston Conservatory and Berklee and is an experience many of the students hope to be involved in. Heather continues to participate in opportunities to further her dance education and has trained with Hofesh Shechter Company, Batsheva, BODYTRAFFIC, Kidd Pivot, and at the Henny Jurriens School. With a student-first mindset, Heather fully appreciates the experience of learning and understands it’s value in growth and understanding. Currently, Heather resides in Boston, is a company member of Hybridmotion Dance Theater, and teaches as a guest and resident artist at multiple dance schools in New England. She hopes to present her own work in the area soon. Heather loves the intimate human connection dance brings and is continuously inspired to find growth in her passion.

Espace Partagé

Apr 02 Apr 17 , 2024

Crystal Pite, Jonathon Young, KIDD PIVOT

Assembly Hall

CRYSTAL PITE, WITH THE DISCIPLINE ACQUIRED FROM WILLIAM FORSYTHE, HAS BROUGHT THE DRAMATIC ART OF JONATHON YOUNG INTO THE REALM OF DANCE IN AN EMINENTLY HUMAN EXPERIENCE THAT WILL LEAVE THE AUDIENCE IN A STATE OF SHOCK.

With the worldwide success of Betroffenheit and Revisor, Crystal Pite and Jonathon Young set new codes for dance-theater. In Assembly Hall, the two artists from Canada have now developed language of ever greater incisiveness, as movement and speech reciprocate challenges, display mutual attraction, and waltz together as a blissfully split personality. Here we are in an assembly hall, one used for sport or meetings, in a desire to be together. Yet the somewhat old-fashioned venue also expresses the gradual loosening of social ties. Here is an assembly torn apart yet joined in a common purpose, i.e. to embody medieval heroes, doing so every year. Little by little each one is seen betraying reality, indulging in fantasies that are the stuff of legend. Then, emerging from the magnificent chiaroscuro of painters from times past, is a fascinating contemplation of our need to form a community, whether in a local assembly hall or at the theater.

Kidd Pivot Créé par Crystal Pite , Jonathon Young

Original work Crystal Pite & Jonathon Young Choregraphy & direction Crystal Pite music composition & sound Owen Belton, Alessandro Juliani, Meg Roe Scenography Jay Gower Taylor Image & video Cybèle Young Lighting Tom Visser Costumes Nancy Bryant Assistant Éric Beauchesne

With Brandon Alley, Livona Ellis, Rakeem Hardy, Greg Lau, Doug Letheren, Rena Narumi, Ella Rothschild, Renee Sigouin

PRODUCTION Kidd Pivot. Kidd Pivot receives support from the Canada Council for the Arts, the British Columbia Arts Council and the City of Vancouver. Kidd Pivot receives assistance from the BNP Paribas Foundation for the development of their projects.

Tue 2 Apr 2024

From €8 to €32

Wed 3 Apr 2024

Thu 4 Apr 2024

Fri 5 Apr 2024

Sat 13 Apr 2024

Sun 14 Apr 2024

Mon 15 Apr 2024

Tue 16 Apr 2024

Wed 17 Apr 2024

Translations are comparable to Google Translate quality only. The English original text is the only definitive and citable source.

Crystal Pite/Jonathon Young: Revisor

Suzanne Frost

Somewhere between absurd Dadaism and operetta silliness, the Russian playwright Nikolai Gogol has a sharp talent for exposing the uglier underbelly of society just as you were laughing out loud. His Inspector General (sometimes known as The Revisor ) is a comedy about a low-level clerk mistaken for a high-office inspector, being wined, dined and bribed by a collective of corrupt characters, eager to cover up their dirt and backstab where needed to hold on to their little pockets of power.

Enter Canadians Crystal Pite and her co-creator/writer Jonathon Young . With her command of bodies and his lust for language, plus their company of extraordinarily nimble dancers, they populate the stage with a hugely entertaining collection of whimsical oddballs who could be straight out of a Wes Anderson film . Riding the rhythms of language like music, bodies contort with anxiety, suspicion or greed, faces twist and grimace, lip-syncing to the external voices of a pre-recorded script in a perfect layer of grotesque theatrical alienation. The symbiosis of body and voice, precise to the nail, is astonishing to watch. Brechtian tropes aplenty are thrown onto the stage, as a disembodied voice, like the voice of god, reads out stage directions.

Then, a break. Rewinding the narrative, Pite and Young revisit, repeat and deconstruct previous scenes, loop phrases of text and movement, lose the characters’ costuming (Pite loves a grey t-shirt) to reveal their craft as the ghostly voice talks us through choreographic choices: ‘This is my doing. I have given shape to this.’ Is the voice the director herself? Or the actual revisor? In a fog of post-truth and post-dramatic abstraction, the initial narrative of the farce is lost, disassembled into its smallest atoms. Once the cogs and bolts behind the work have been revealed, it is difficult to reconnect with the original returning characters. They are changed, and maybe so are we. Is there a moral to this story? What does it all mean? Did I get it? As intriguing as it is confusing, this is challenging, complex theatre that leaves you with a ?

Mette Ingvartsen: RUSH

Ariadne Mikou

Samir Kennedy: The Aching

Le temps d’aimer la danse – Biarritz 2024

Callysta Croizer

Exploring the Tanz im August archipelago

Annette van Zwoll

Kidd Pivot: A New Creation at Bluma Appel Theatre

Dates: (12/6/2023 - 12/9/2023 )

27 Front Street E. Toronto, M5E 1B4

Phone: 416-368-3110

• View All Toronto Shows
• Kidd Pivot: A New Creation

Canadian Stage is proud to be a co-commissioner of Kidd Pivot’s highly anticipated new work by acclaimed choreographer Crystal Pite and co-creator Jonathon Young. This new creation follows the massive success of  Revisor  and  Betroffenheit , which The Guardian called “the best dance work of the 21st century.”

With a style that is brilliantly orchestrated, highly energetic, and an inventive hybrid of dance and theatre, Pite has been described by The Guardian as “the dance genius who stages the impossible.”

In this newest work, Pite and Young explore our need to congregate and belong. In a gathering place that doubles as community hall and mythic realm, we witness the joys and dangers of devoted like-mindedness and the pain of exile. This breathtaking, moving, and inspiring new work is not to be missed!

Bluma Appel Theatre Frequently Asked Questions FAQ

Bluma Appel Theatre is at 27 Front Street E. , Toronto.

The Inheritance Part 1 & 2 (3/22/24-4/7/24) The Lehman Trilogy (11/14/23-11/26/23) Jungle Book reimagined (10/12/23-10/14/23) Scott Joplin's Treemonisha (6/6/23-6/17/23) Choir Boy (11/8/22-11/19/22) Crypto (5/5/22-5/7/22) Radical Vitality Solos and Duets (2/5/20-2/5/20) Spirit (11/8/19-11/9/19) Race (4/7/13-5/5/13)

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