Paula Citron
The Globe & Mail
CFMX Radio

I have a confession to make. I used to nag Mimi Beck that DanceWorks deserved a higher profile and should be presented at either the Premiere Dance Theatre or the duMaurier Theatre, because, arguably, Harbourfront was the home for dance in the city. The truth of the matter is, I wanted to get out of the Betty Oliphant Theatre with its small seats and cramped leg room. (Do you think that architect Jack Diamond ever sat in those steeply banked bleachers with his knees in his jaw?) When the move to the du Maurier happened, I congratulated Mimi on making it to the “big time”, as it were. “This move,” I told her, “will give DanceWorks the visibility it deserves!” In reality, my legs and behind rejoiced at the escape.

On a more serious note, DanceWorks is second only to Harbourfront as one of the most significant presenters of dance in Toronto. The list of choreographers who have had works performed in DW covers Canada from sea to shining sea, with a good dollop of excellent dancesmiths from abroad. The series has helped educate people to the wonderful mysteries of dance, and if, after 25 years, we Torontonians are a more discerning audience, it is, in large measure, due to DanceWorks.

When I look over the list of choreographers, it is also with a tinge of sadness, particularly for those who are no longer with us, or those whose dance voices have become silent. The names jump out at me from the distant past – Kathryn Brown, Murray Darroch, William Douglas, Randy Glynn, Judy Jarvis, Linda Rabin, Gina Lori Riley, Alan Risdill, Tama Soble, Zella Wolofsky, and the inspired women of the Clichettes – and I thank DanceWorks for these memories.