Reviews
 

Unraveling The Tight Weave
Produced by REAson d'etre dance productions
Art & Culture Maven, June 2011
Unraveling the Tight Weave is a fascinating tableau of dance theatre that explores the ties that bind us or not- the complex and ever weaving interconnections between people and fate. The twelve dancers... embrace, entanglement hold lie on and run with balls of twine and threads from a scarf. The strings tie them together or separate them from each other. The choreographic language is expressive and emotional and the dancers assume a range of dramatic roles quite convincingly.

The Wild In Us
Produced by REAson d'etre dance productions
Tim Posgate, June 2011- The "jazz" life" Blog
The piece has a great ensemble feel to it...I liked the modern pop music and the way it was put together. It seemed essential to the choreography which is what I want from a choreographer. The theme seemed to be co-operation versus conflict and how we get through it to make it to something beautiful. The lighting and use of floor space was creative.

Long Live
Produced by REAson d'etre dance productions
Paula Citron, 2008 - The Globe and Mail
Indeed, Long Live is a brave work because, amidst the grief, it contains visual whimsy that comes close to the surreal. Two funny dolls that actually crawl and cry depict the birth of the two children. The dog is a large stuffed toy led about on a leash. The rolling armchair converts to a station wagon that carries the family on outings. The love between the mother and father is shown through a tickling match. It all helps convey the picture of a loving family.

The humour in the piece is, of course, underscored by melancholy...The son's dance of death is one of heaving staccato movement. The mother's dance of grief is graceful elegy, while the father's is a fierce outburst of energy. Rea has developed a highly defined angst-filled gestural language that acts as a communication connector to the ebb and flow of scenes.

The music is best described as folk/alternative with cryptic, elliptical lyrics. It is a moody backdrop to the piece, especially for the joyous snow ballet that ends the work. The weather report that Goldman intones is one of dire warnings, but that is not how the angels see the storm. In their long white coats, the angels twirl around, becoming the snow that falls from the sky. In this winter wonderland, the girl finds joy again with the Heart Angel through an intense duet of precarious lifts and shifting weight.

... the integrity of Rea and her cast creates a poignancy that demands respect.


IRE
Produced by REAson d'etre dance productions
Paula Citron, July 2006- Classical 96.3 FM
Each year she (Kathleen Rea) mounts VIVID, a production which provides performance opportunities both for herself and another choreographer, and this season’s incarnation is a very strong show indeed....Rea’s Ire, for six formidable female dancers, deals with intimacy and aggression in the lives of women, set to cellist/singer Anne Bourne’s compelling original score interwoven with Bach suites. Birch’s duet sympathetic nerve uses the metaphor of a male/female relationship to explore the nature between soul and body. Both are very satisfying pieces. Ire portrays many relationships of a woman’s life – with her friends, her children – and we see both nurture and anger. The choreography is beautifully rich, poignant and lyrical. 


IRE
Produced by REAson d'etre dance productions
Sarah Snowdon , July 2006 www.contemporarydance.suite101.com
....exciting contemporary dance pieces... Frames, first performed in August 1996, opens the evening beautifully with choreographer & dancer Kathleen Rea. A very personal and reflective piece based on Rea's battle with an eating disorder, the frame Rea uses as a prop seems symbolic to the structures within a society that promotes body image issues. Rea's strength, both physical and emotional, is demonstrated through intense, athletic-style movement and by delicate yet protected gestures. The music, ARVO PART (Fratre), evokes the sadness of feeling entrapped within an imposed social framework.

Kathleen Rea's IRE explores the evolving seasons of aggression between women at different points in their lives. A playful, child-like duet involving "paddy-cakes" is one of the opening sequences, emphasized by lighting that imitates daylight. Swaying upper-body movement leads to increased aggression and combative stances. One dancer is often singled-out and is forced to defend themselves or retaliate. Dancers Johanna Bergfeldt, Bess Callard, Anna Finkel, Pam Johnson, Karen Kaeja and Teisha Smith, are stylistically varied but flow well together. There are some absolutely stunning moments in this piece, which may have had more impact had it been slightly shorter.


flux and Frames
Produced REAson d'etre dance productions and princess productions
Glenn Sumi, 2002
Now Magazine top ten dance of the year
Kathleen Rea's imaginative, richly theatrical 1996 piece Frames - performed in and around a frame - explored the limits we set for ourselves, while her new work, flux, examined the need to lift off with a clown inspired whimsy. A delight"


flux
Produced REAson d'etre dance productions and princess productions
Paula Citron, 2002 - The Globe and Mail
There is something very satisfying about a program performed by established dance artists. Marie-Josée Chartier and Kathleen Rea, epitomize a maturity that takes dance deep below the surface to a level where the emotional, psychological and physical intersect in provocative ways.

Rea's new solo, flux, is a delightful yet poignant collaboration with guitarist-singer Roman Koudriavtsev. On the surface, it is a story about a girl who wants to fly, but while Koudriavtsev's folksong score conjures up a folk-tale mystique, the fact that he sings not actual words but meaningless syllables, opens up the dance to deeper meaning. Symbols abound in the piece. Rea is garbed in a skirt of Newspaper pages and the incessant rustle is also part of the dance, particularly when she takes off the skirt and wears it like fragile wings.

Gravity is more than being rooted to the ground. It also involves rolling around the floor, on, we discover later, a hidden blue beach ball -- and this bizarre movement heightens the chains that bind her on earth, despite the straining and yearning of the intense motion of her upper body. The ball, in fact, becomes a character in the fable, a voiceless companion that epitomizes her loneliness anchored in the horrors of today's headlines.

Her clumsy attempts to fly with a rope also convey bondage, even conjuring up a noose that is a symbol of death, as if finally achieving what she wants is another form of imprisonment. It is the dark undercurrents of flux that continue to haunt the viewer long after.


Fleeting
Produced by REAson d'etre dance productions
Susan Walker, 2002 - The Toronto Star
Rea, a former National Ballet dancer, became a choreographer after knee injuries ended her performing career. Fleeting is a word that holds meaning for any professional dancer, but especially for someone like Rea, who created this work on three men and six women to music by Mass Ensemble.

The opening scene involves a flattering use of old Newspapers: fashioned into ballgowns for Lisa Otto, Eryn Dace-Trudell and Karen Kaeja. In silence they swirl around the stage and roll on the floor, creating a sound like the crunching of dead leaves.

Later, Newspapers are used again to make a long rectangular floor cover, lifted by dancers Tom Brouillette, Piotr Biernat and Yong to suggest a moving river in which Trudell is immersed. Later still it becomes a long blanket for a group sleep-over. Veering between the naturalistic and the metaphorical, Fleeting sometimes feels like bits from two dances spliced together, but its images will prove permanent.


Elysian
Produced by REAson d'etre dance productions
Shena Wilson, 2002 - Danceinsider.com
Fabulously original…Grace, bumps, speed, stillness, unpredictable twists… accomplished with glow and soul. It worked so incredibly well… a joy to watch…I so look forward to seeing even more of Rea's work.


Frames
Produced by REAson d'etre dance productions
Lili Marin April 2000 -TEMPO-Showbiz
L'athlétique Kathleen Rea interprète son solo "Frames" avec beaucoup de sensibilité. Telle une gymnaste, elle bouge autour d'un cadre, se laissant porter par les élans de la musique. Démonstration d'une technique irreproachable.


Respire Me Through
Produced by REAson d'etre dance productions
Susan Walker, August 2000
- The Toronto Star

Kathleen Rea performing Respire Me Through made a harrowing dance out of a story told to her by a friend. It suggested the literally lung stopping effect of watching a favorite tree get cut down.


Frauenmythos
Produced by REAson d'etre dance productions
Rebecca Todd, August 2000 - Eye Magazine
Kathleen Rea's Frauenmythos is one of those dances you could see repeatedly - it begs a heightened attention just so you don't miss the details. A duet about a woman's hunger for living mythology, Frauenmythos possesses the structural clarity of some rare and beautiful natural specimen. At the same time, the dancers (the remarkable Anna Hein and Eva Muller) are human and emotionally present.


Frauenmythos
Produced by REAson d'etre dance productions
Susan Walker, August 2000
The Toronto Star

A notable performance is put in by Eva Muller and Anna Hein in Kathleen Rea's Frauenmythos, the dance achieves transcendence.

Johanna Bergfeldt, Bess Callard, Anna Finkel, Pam Johnson, Karen Kaeja & Teisha Smith, photo by Greg Schilhab
flux, Kathleen Rea, photo by Davıd Hou
flux, Kathleen Rea, photo by Davıd Hou
Johanna Bergfeldt, Pam Johnson & Teisha Smith, photo by Greg Schilhab
 Bess Callard & Anna Finkel, photo by Greg Schilhab
Fleetiıng, Eryn Dace-Trudell, photo by Greg Schilhab
Frames, Kathleen Rea
Frames, Kathleen Rea
Frauenmythos, Anna Hein, photo by Judeee Bramm
Frauenmythos, Eva Muller, photo by Judeee Bramm
Johanna Bergfeldt, Bess Callard, Anna Finkel, Pam Johnson, Karen Kaeja & Teisha Smith, photo byr Greg Schilhab
Robert Halley, Malrene Latour, Lee Walder and Chelsea O'Brian, photo by Greg Schilhab
Suzanne Liska and Lee Walder, photo by Greg Schilhab
Tom Brouillette and Karen Kaeja, photo by Greg Schilhab
Frames, Kathleen Rea, photo by Davıd HouFleetıng, photo by Judee Bramm