Live performances – that you can see in person – are, thankfully, a thing again. At least, for now. And this year’s Chutzpah! Festival, Nov. 4-24, features many shows that people will be able to attend, most of which will also be streamed digitally.
For the two artists the Jewish Independent interviewed this week about the festival, the upcoming performances hold special meaning.
“I am so looking forward to coming back to Canada,” said New York-based comedian and storyteller Ophira Eisenberg, who was born in Calgary. “And Vancouver at that! Where it all started.” Eisenberg performs Nov. 7 at the Rothstein Theatre.
Shay Kuebler/Radical System Art’s Momentum of Isolation sees its world première at the theatre Nov. 13 and 14. The dance company returns to Chutzpah! as resident artists. The Rothstein Theatre and Chutzpah! “have been critical to the growth of Radical System Art and my work as an individual artist,” Kuebler told the Independent, describing the theatre as “the cradle that supported us” during “our infancy as an organization.”
“When I stepped back into the theatre,” Kuebler said, “it was like being back in a close friend’s home. It feels right. There’s a groove and comfort there. This has enabled us to create with as much momentum as possible, both as a company and collective of artists.”
Stepping back into a theatre has been an emotional experience for many artists.
“This spring in New York, I performed numerous times outside,” said Eisenberg. “All of the situations were a little different and, a couple of times, the address of the show was a large tree in a park! It wasn’t ideal and definitely was challenging, but people really wanted to laugh and take in some live entertainment, so it was uplifting.
“My first real performance inside at a comedy club was in early May, when New York opened small performance venues,” she said. “The audience was distanced and masked, and I think they laughed louder and harder than an audience of 3,000 – or maybe my ears weren’t used to hearing live indoor laughter and it sounded explosive. Either way, it almost brought me to tears, and I know I’m not the only one that felt that way.”
Eisenberg comes to Vancouver soon after the final episode of National Public Radio’s comedy trivia show Ask Me Another, which she hosted for nine years, interviewing and joking with numerous famous folk, including Sir Patrick Stewart, Awkwafina, Ethan Hawke and Julia Stiles, among many others.
“After interviewing hundreds of celebrities, authors, musicians,” said Eisenberg, “one thing that stands out to me is that, whenever we talked about a project that meant a lot to an artist, they mentioned that what made that project so successful was the supportive environment – and the fact that they worked with people who allowed experimentation and even failure. That ended up bringing out their best work. I think about that a lot when it comes to creating a space for artists to truly succeed.”
Eisenberg has headlined and performed at countless festivals and appeared on numerous comedy networks and programs. She has her own comedy special, called Inside Joke, and her first book, Screw Everyone: Sleeping My Way to Monogamy (Seal Press), was optioned for a feature film. She is a regular host and storyteller with the Moth, an organization that has become a radio show and podcast, in addition to putting on live events and other activities.
As for what she would still like to accomplish in her career, Eisenberg said, “I’m working on another podcast that I hope is also long-running! But I have so many things I’d like to do. Maybe too many things! On the docket are writing another book, and I’d love to write for TV. Performing live is my first love, so I’m looking forward to a safer world where that can happen more often.”
Eisenberg’s journey to success began at a young age.
“I truly believe I was drawn to New York as a child from watching Sesame Street!,” she said. “I went to McGill for university, where I got a bachelor’s in anthropology and theatre, then moved to Vancouver for a couple of years, where I tried standup for the first time.
“I was honestly too scared to move to New York,” she admitted, “so I moved to Toronto and spent five years performing and starting to understand my craft. Then, one day, I thought, ‘I need to move to New York now while I can still happily live with a futon and milk crate furniture.’ Two years after moving here, I discovered the Moth…. I love writing jokes, but I was working on other material that just did not fit into the standup mold. I found an outlet of expression at the Moth and in this short form storytelling, and I continue to pursue both.”
When asked to describe her connection to Judaism and/or Jewish community or culture, Eisenberg said, “I have a joke in my act that goes something like this: ‘I was raised Jewish in Calgary, Alberta, or so I thought because when I moved to New York I wondered, “maybe I was raised Protestant?” Everyone in New York is more Jewish than I am. My Puerto Rican neighbour knows more about Judaism than I do.’
“That is just a joke but living in New York is definitely the first time I felt surrounded by pervasive cultural Judaism. My father was the principal of the Hebrew school in Calgary but left that job the year I was born, so I went to public school. We still practised at home and went to synagogue during the High Holidays. As an adult, I’ve definitely been able to find my community here in Brooklyn, which is very wonderful and embracing.”
In 2018, before the pandemic sent us all into relative isolation, the United Kingdom appointed its – and, apparently, the world’s – first minister of loneliness, to address the problem as a public health issue.
“Right away, the title of ‘minister of loneliness’ grabbed me,” Shay Kuebler told the Independent. “There’s something very simple about it and it almost feels like a caricature, yet, when you think of someone whose entire work/career is to disrupt loneliness, it becomes deeply serious. When you read about isolation and loneliness, the gravity of this position becomes even more clear.”
The United Kingdom’s action was a catalyst for Kuebler, who noted, “You can now find multiple countries that have ministers of loneliness.”
The work Momentum of Isolation “speaks to a number of ideas around isolation and loneliness,” he said. “By doing so, I hope to open up greater conversations around the topic and maybe have audiences start their own exploration of the topic.”
Momentum of Isolation explores the theme both through physical isolation and social isolation, explained Kuebler. “These two points are explored through a number of different scenes, which make the show episodic in its structure, with some through-lines and arcs for characters moving all the way through.”
The work has turned out to be even more relevant than Kuebler initially thought it.
“Honestly, this show took on an evolution that I could have never projected,” he said. “The timing of our first full-company research period coincided with the closures and lockdowns across 2020. I knew that this project was important, and being forced into an online/isolated form of research was profound, to say the least.
“This isolated online research, which enabled one-on-one time with each of the company artists, created a well of material,” he said. “It was a format that was completely new, but something I found extremely valuable. While working with each artist one on one, I was simultaneously writing and composing music for the work. This not only led to a lot of new scenes and ideas, but it also distilled what was most relevant and necessary to say.
“For me, this piece was both a rediscovery and a reinforcement of what I hold most valuable. It has brought me back to how and why I want to create. I am grateful for this.”
For those unfamiliar with Radical System Art and dance in general, Kuebler added, “I know when we hear ‘dance’ and, especially, ‘contemporary dance,’ a lot of people can feel hesitant. I want readers and audiences to see this show as more of a ‘contemporary theatre experience.’ It brings together technology, design and multiple art forms around a very relevant – and timely – theme. It is something being made now, through many different artists and their many unique experiences…. With a collaborative approach to connecting with our audiences, we hope to create something new, relevant and accessible.”
One could be forgiven for thinking there was a Jewish dance festival coming up, as there are so many community members participating in this year’s Dancing on the Edge, which takes place July 2-11.
Adapting to the circumstances of the pandemic, which limits public gatherings, DOTE festival producer Donna Spencer recently announced that, while it won’t be possible to present the initially planned 30-plus live performances, the festival “will be offering instead some specially curated digital programming with live-streamed performances, premières of dance films, dance discussions, four outdoor live performances in the Firehall’s courtyard and one dynamic theatre performance at the Firehall Arts Centre theatre (all live performances for very limited audiences with safety precautions in place).”
Among the featured dance companies and choreographers are, in alphabetical order, Action at a Distance (Vanessa Goodman), All Bodies Dance (Naomi Brand, with Carolina Bergonzoni), Ben Gorodetsky, Ne. Sans Opera and Dance (Idan Cohen), Radical System Art (Shay Kuebler), the response. (Amber Funk Barton) and Tara Cheyenne Performance.
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Action at a Distance is presenting Solvent, a new work created in collaboration with musician Loscil (Scott Morgan).
“I have been incorporating video footage into my work for years, and the recent time at home has provided an opportunity to generate material and experiment with new editing techniques,” said Goodman. “In some ways, this is an extension of our previous work together. Our first video collaboration was for a song on his album, Monument Builders. Since then, we have built four works together for my company Action at a Distance, including Never Still, which was presented by the Firehall Arts Centre in 2018.”
When the pandemic hit, Goodman said, “At first, I found myself grasping for something substantial to hold onto and tried to reschedule all the tours and premières that were being canceled. It was challenging to let go of everything. Eventually, I came to terms with the downtime and embraced the slow pace as best I could.”
When the need to isolate began, she said, “I started making short dance films for myself and my 96-year-old grandmother to help us stay connected. At times, it has been tough to stay motivated during the shutdown, and this was a simple way to stay creative.
“There’s no way to compare these sketches to a staged dance performance,” she said. “However, when I shifted my frame of mind and started to approach video as a whole new medium instead of an altered version of an existing piece, I became more comfortable with the idea of sharing work this way. I am very grateful to DOTE for bringing the community together to share work right now.”
Even in such times, arts and culture are “absolutely vital,” said Goodman. “Without them, we’re living in the dark ages. It is essential to have creative outlets for expression. Right now, finding connections through creativity can help cut through the isolation. Art can provide much-needed escape and levity in challenging times, as well as reframing current issues and inspiring insight around movements of essential social change.”
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All Bodies Dance Project (ABDP) is bringing Ho.Me to the festival. “The film was commissioned by F-O-R-M, Festival of Recorded Movement, last year … and is a collaboration between longtime ABDP company members Carolina Bergonzoni (choreographer/director), Peggy Leung (dancer), Harmanie Rose (dancer), Mathew Chyzyk (dancer) and Vancouver-based artist Gemma Crowe (cinematographer/editor) and Alex Mah (composer),” said Brand. “Ho.Me explores themes of belonging and comfort in relation to inhabiting one’s own body. The film is comprised of three personal solos shot inside the dancers’ own apartments. In the piece, we get to see these three very different bodies dancing within the privacy of their own homes among the objects that have meaning to them.
“While the film was created long before the pandemic, the significance of moving inside our homes feels really different now since we’ve all been spending so much time inside. Many dancers have been figuring out how to turn our living spaces into places where we can also practise, explore and move, as studios haven’t been an option.”
Since the start of the pandemic, ABDP has moved some of its community dance programming online.
“We also started a weekly virtual gathering for our community of dancers in order to prevent social isolation,” said Brand. “Many of our projects have been on hold. There is so much about what we do as a company that just isn’t compatible with the necessary restrictions of COVID life. Our work is based on bringing people with different bodies, backgrounds, experiences and abilities together to move, share and make in real-time. We’ve been thinking a lot about what kinds of things translate into the digital space and what things just can’t be replaced.”
She said, “Now more than ever we need community and collective experiences, as so many have been isolated during these past few months. People with disabilities in particular have experienced a lot of isolation and so we are even more committed to our purpose at All Bodies Dance Project.”
She added, “Dance is about each of our essential relationship to our own bodies. During COVID times, many of us have learned a lot about our own physical experience of moving through the world and the social choreography of physical distancing. There has been so much choreography on the sidewalks, grocery stores and, of course, in the streets during the incredible protests during this pandemic.”
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Gorodetsky, who is Russian-Canadian, is one half of the political comedy duo Folk Lordz, with Cree co-creator Todd Houseman. The pair tackle racism, among other social ills, and have created a 15-part series “[r]eflecting urban-Indigenous, immigrant and activist perspectives through the lens of biting satire.” A second series of sketches is on its way, but Gorodetsky is bringing a very personal work to this year’s DOTE.
“It’s a movement video piece honouring my grandfather, Dolik (David) Lutsky. He died on April 3, 2020, and, since we could not gather for his funeral due to the pandemic, we were left to sort through our grief alone,” he shared. “One small relief was my grandmother mailing me a box of his clothes. Using these garments as performance artifacts, I created a digital video piece reimagining grieving rituals in the age of COVID.
“I explore the ceremony of wearing Dolik’s clothes and reactivating the narrative, cultural and physical threads of his life. Spoken oral histories exploring my grandfather’s immigration (I was born 10 days after they landed in Canada), identity (he was the official communist ‘propagandist’ at the coalmine he worked at in Ukraine) and faith (he went from being an ardent anti-religious communist to a practising Lubavitcher Jew) provide textual counterpoint to the dance video. The visuals themselves were all created through aerial drone photography, creating a fluid visual style for this interdisciplinary new video work. Country roads, forests and lakes frame this physical score exploring grief, memory and family history.”
Gorodetsky said, “I think if I had been able to grieve, remember and connect with my family after Dolik’s death, I would have no need to explore these ideas artistically. But, since I have not, I have a nagging need to articulate this particular pain through movement, story and visual composition.”
Since COVID, Gorodetsky has become the fulltime caregiver for his 2.5-year-old son. “Time and energy have become scarce resources,” he said, “so I’ve had to get better at working furiously fast while he naps. Focused blasts of creativity.
“Also, my family has been displaced from our home and all our possessions in Brooklyn, N.Y. We were in Kelowna (where I was teaching on a one-term contract at UBC in the performance program) when the border closed and we could not return to our home as planned. So, we’re in Waterloo, living at my sister-in-law’s house, until [who knows when]. Honestly, my mental health is brutal right now. Anxiety grips me in a way I had never experienced before, and I have had to find tactics for replenishing my depleted stores of happiness and hope. One thing that really helps is long bike rides with my son Gus. We get out of the city and follow country roads – we live near Amish country! It’s a small way to feel free, alive and empowered in the midst of these deeply destabilizing times.”
For Gorodetsky, who grew up in Metro Vancouver – in Burquitlam – “dance is a way of moving your grief around. It helps me shake the weight and sediment of catastrophe off and meet my grief as an equal, rather than as a victim.
“Gus and I developed a habit of walking to a beach or body of water, finding a big tree stump, climbing on top and dancing to a playlist called ‘Klezmer Dance Party at Home’ (lots of Klezmatics, Michael Winograd, Frank London, Socalled and Di Naye Kapelye). It’s been a real lifesaver.”
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Ne. Sans Opera and Dance’s Trionfi Amore (The Triumph of Love) was commissioned by Peter Bingham for EDAM’s Spring Choreographic Series, April 2019.
“It is a trio created for three phenomenal Vancouver-based performers, Kate Franklin, Jeremy O’Neill and Ted Littlemore,” said Cohen. “Besides being excellent dancers, these three are also trained musicians, and the piece utilizes their many talents.
“The trio is inspired by the opera Orfeo ed Euridice and is a part of my ongoing research on the theme of Orpheus,” he explained. “It speaks of love, and of the power of music and art to move, entertain and touch us. It also speaks of the power of manipulation and control on the individual and, as we prepare it for DOTE during this time, we find that new meanings present themselves to us.”
Cohen said, “The act of presenting something as abstract as the notion of love in a dance performance is quite a challenge by itself, and nowadays even more so – how do you speak of love without being able to touch, to be close to one another? Instead of looking at this as an obstacle, we choose to look at it as a source of inspiration, a new adventure. As artists, we reflect what we experience and then monitor, or direct, those notions into our actions and creative choices. My responsibility here is to stay true to the origins of this piece, but also to protect the viewers and the performers while offering art that speaks of relevant issues and current experiences.”
It hasn’t been easy.
“Ne. Sans had to stop our season and rethink and rearrange our commitments,” said Cohen. “It has been painful to see how many creative ventures that have been in the planning for quite awhile have been postponed or canceled, and to realize the ensuing financial and emotional toll…. I believe in the value and presence of arts in our community and in our lives, in countless ways, and tackle issues that I find not just relevant for myself, but that reflect on many lives. At the same time, I recognize how privileged I am to be here, in Vancouver, and to be safe and healthy.”
Whether theatre, music or dance, one thing common to all forms of live performance, said Cohen, “is that they are alive.” They all involve the human body, both “the performing bodies and the ones watching.”
“As an artist who uses movement as a primary artistic discipline,” he said, “I have a huge love and respect for the human body in its most basic form. When you learn to love and accept your body, you can truly love and respect people. That love is also where my queer identity(ies) meet my Jewish ancestry. So much hate is being inflicted on the body; if we don’t learn to love and appreciate our bodies, how can we truly love and appreciate someone else’s? How can we heal? With so much violence in our history and in our present, in a world polluted with ignorance and hate, how do we learn to love and forgive our ancestors, our pasts? The arts bear a huge responsibility. Artists need to change our priorities, acknowledge our inherited racism and create new stories.
“Ne. Sans is an organization that is centred on Western European music and dance, and my origins are in Western Europe,” he continued. “Our main goal in Ne. Sans is not to present a notion of nostalgia, romanticism and artificial beauty, but to raise the issues of violence and inequalities created by that culture, recreate its narratives and bring those up into the surface.”
In Jewish teaching, there is the concept of tikkun olam, repairing the world. “We can all be involved in tikkun olam at any given moment,” said Cohen, “and we need to keep adapting and correcting our values, individual or systemic. We have a responsibility to help and support one another. We have survived horrible historical events. Looking straight at our bleeding past and present: in the face of injustice, we cannot and will not stay silent.”
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Kuebler, who has performed at the Chutzpah! Festival and is connected to the Jewish community through his sister’s family, will be presenting Momentum of Isolation at DOTE. Started last year, he said, “This first chapter of research is a chain of solos, for seven performers, that was developed by company artists online and in isolation.”
Given the restrictions required to control COVID, this part of “the project has taken on a much more singular focus on each artist’s personal interpretation,” said Kuebler. “As these solos were developed in home spaces and in isolation, the artists are performing their solos in smaller performance spaces – averaging six-by-nine feet – as well as performing these solos in relation to walls and surfaces in their environment.”
Of COVID’s impacts, he said, “There was certainly sadness and stress from losing work and touring opportunities. The company was two weeks away from a European tour when all the social protocols came into place. We were fortunate to receive some support and, after assessing the financial losses, we were able to move forward with a different creative practice for this phase of this project.
“The new creation practice of working online and in isolation actually revealed some very interesting new approaches and beneficial tactics. This online format had us focus on different dance techniques and improvisation tasks that could both challenge our individual movement skills and develop more group unity in movement. It also opened a window for focused study around the social content in the project.”
Kuebler said, “For myself as an artist, this time has offered me some space to ‘fill the well.’ I have been creating, traveling and supporting multiple projects simultaneously for a solid amount of time. This time in isolation, although not in the form that I would have wished for, or for anyone for that matter, has offered me space and time to just research and train…. I’ve found that, with this space, I’ve been more creative and have developed further outlets to express my creativity.”
He said, “I think that art holds a very important place in society. It offers people an escape from certain stresses and can help inspire them to find their own creativity. I believe that being creative can help you live with greater curiosity, humility and awareness of the world around you, which can make you a better member of society…. From this standpoint, I believe that art and artists gain greater relevance during challenging times and times of change.”
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Barton’s company, the response., will host a special-edition, two-day version of Dance Café, which will feature eight Vancouver-based professional dance artists during DOTE.
“Together with my administration assistant, Kaia Shukin, we have been presenting Dance Café since 2017,” said Barton. Originally, it was held once a year as an informal, free event in studio, but, since May of this year, they have been presenting professional dance artists online using Instagram Live, and did so in June, as well. Given the positive response, Barton would like to keep the free event going monthly until the end of the year, but it will depend on resources, and she hopes people will donate to help make that happen.
With the arrival of the pandemic, Barton said, “It felt like many of the things I do changed overnight. At first – and there are still many moments at present – I felt overwhelmed with the learning curve of teaching and rehearsing on platforms such as Zoom. I feel that the act of participating in these online platforms, whether you are ready to or not, forces you to be creative just by showing up. In many ways, the act of applying for grants and the typical administration side of what I and the company do haven’t changed, but the artistic side of it is what I find is in question. How can we continue and how can we share and create work in a safe environment? Those are my biggest questions right now.”
For Barton, “Art can be a reflection of what we are experiencing in the world and can act as a mirror. It can be cathartic. It can also help us escape. We are all listening to music, watching films and trying to make sense of what is happening and/or trying to make time pass by. No one can deny that their consumption of art is interwoven in the daily fabric of their lives.”
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At DOTE, Tara Cheyenne Performance will share two films made in collaboration with Allison Beda/Amuse Productions and possibly a live online performance, said Tara Cheyenne Friedenberg. “These works are a continuation of my solo I can’t remember the word for I can’t remember, which premièred at the Firehall in 2018.”
For Friedenberg, life during COVID has been “up and down.”
“Some days are good – home schooling actually happens (we have an 8-year-old), I might even take an online dance class and have a virtual rehearsal with my dramaturge Melanie Yeats. Other days, making lunch and trying to figure out Grade 3 fractions is too much,” she said. “I’m not loving the many, many Zoom meetings. I feel like our brains and bodies are compromised being in front of screens so much.
“Artistically, it has been invigorating and challenging – also very frustrating and often sad, to be honest – to try to reach my audience. I was recently working on a video of past work and noticed that, in every show, I literally climb into/onto the audience. My focus right now is how do I break the fourth wall when it is a virtual fourth wall.”
When asked the importance of the arts in such a stressful social and economic period, Friedenberg said, “We absolutely need to share stories and experiences right now. I feel like it is my duty to offer levity, commentary and my own feelings in order to facilitate those moments of community and recognition. My grandfather toured Europe playing piano for Maurice Chevalier leading up to the war, then here in Canada during the war. I feel like it’s in my blood to offer what I make, especially during difficult times. I’ve been making these very silly satire videos of my character Laura Lockdown, which people are enjoying I think because they allow us to laugh at the extreme situation we are all living through.”
Friedenberg also has been recording, for almost a year now, the podcast Talking Sh*t with Tara Cheyenne.
“I interview artists about their work, their lives and how they manage,” she said. “These interviews are even more interesting in the time of COVID-19. Creativity, and how we navigate its absence in the face of difficulty is so useful for all of us. Right now, I’m leaning towards interviewing artists of colour – voices, art and ideas that need to be heard.”
Tara Cheyenne Performance’s how to be, part of Dancing on the Edge. (photo by Wendy D Photography)
This year’s Dancing on the Edge festival, which runs July 2-11, once again features the talents of many Jewish community members. The Jewish Independent asked several of them to describe the work they are presenting in the festival and to explain what makes it “edgy.” Their responses appear in the order in which their work appears in the festival.
Container, choreographed and performed by Vanessa Goodman, with original sound composition by Loscil, is a new work “that explores heritage, culture and resilience.” (Part of Edge 1, July 3 and 4, 9 p.m., at Firehall Arts Centre.)
“What makes the work ‘edgy’? Well, I am not 100% sure that I would categorize the work as edgy,” said Goodman. “However, I would say that the physicality/embodiment shifts between different extreme states, taking the witness/audience on a journey of my experience within the work.”
Re:Play: a duet choreographed by Naomi Brand and performed by Hilary Maxwell and Walter Kubanek. (Part of Edge Up, July 5 and 6, 8 p.m., at Firehall Arts Centre.)
“The piece is a playful exploration of the space between two bodies in dialogue,” said Brand. “It looks at what we choose to display and disclose and what gets hidden and smoothed over in conversation. The element of play is a theme that drives the duet as the dancers show and tell, watch and listen, repeat, respond and react to one another. The piece is set to a sound score that brings the process to light, with dancer Walter Kubanek practising Chopin’s Nocturne Op. 9 No. 1 on piano, and sound clips of the dancers in rehearsal. Playing on the edge between cooperation and competition, the dancers engage in a dynamic negotiation of space.”
Feasting on Famine: choreographed by Shay Kuebler, Radical System Art. (Part of Edge 5, July 9 and 11, 7 p.m., at Firehall Arts Centre.)
“This performance looks into the extremes of bodybuilding culture and how it references capitalism and the corporatization of the human body – growth edges out all other aspects of self. One man’s physically charged journey into the depths of extreme health and fitness will leave the audience on the edge of their seat.
“The work combines theatre, dance, and martial arts to construct an edgy and modern look at the extremes of society,” said Kuebler.
Duck Dances “promises to be a whimsical exploration of curious imagery, woven together with the color red to reveal a charming tableau of events within the framework of Dusk Dances,” reads the description on Dancing on the Edge’s website. (July 9, 10 and 11, 7 p.m., at Portside Park.)
“I am creating a piece in collaboration with Jennifer Mascall and Susan MacKenzie for Dusk Dances. We’re calling it Duck Dances,” Amber Funk Barton told the Independent. “For me, this work is ‘edgy’ because I have never created a site-specific work and our intention is that our performers will also be all ages and abilities. Using Crab Park as a studio instead of a studio is not only inspiring but challenging me to work outside of my comfort zones and creativity.
how to be is “the latest ensemble creation to emerge from the strange mind of Tara Cheyenne Friedenberg (Tara Cheyenne Performance). The piece examines how we think we should ‘be,’ how we think others should be and how impossible and futile it all is. Using ideas found in malignant social media, cultural restrictions, and the ceaseless voices in our heads, how to be traces five characters as they navigate how to be.” (Part of Edge 6, July 10, 7 p.m., and July 11, 9 p.m., at Firehall Arts Centre.)
“I consider this piece ‘edgy’ because it plays with text, audience relationship, what is ‘appropriate’ in life and in performance,” said Friedenberg. “This is not a typical dance piece, but it is a piece only highly trained dancers could do. I expect to tiptoe very near the edge of extremely uncomfortable and deliciously funny.”