Choreographer Cervin Barrington, left, and Adele Reeves, rightly, will pilot the revolution Steampunk Fessenden Follies.
Even as a young child, dancer Kervin Barrington was more attracted to choreographed for others than performing herself. Barrington is responsible for moves at the David Fennaria Festival at Fessenden Follies, which has a world premiere at the Hudson Village Theater on Thursday.
The production of the magazine is directed by Glen Robinson, with the costumes of the award-winning visual and tequila artist Tine Struthers and the original music by JP Vialard.
Barrington, Robinson and Vialard have teamed up since the very first moments when it was decided that Fenenario's story about inventor Reginald Aubrei Fessenden would take place at the futuristic university Steampunk – a time-based universe based on aesthetic referencing and the Victorian era, and industrial revolution.
"I love it," Barrington said of the production. "It's just the most innovative thing."
Using music, song, spoken word, dialogue and dance, Fessenden Follies tells the story of Tovnshipper who grew up to invent radio. Although Guglielmo Marconi was largely attributed to the work, Austin, Fessenden, born in Quebec, was the first person to broadcast a human voice in 1900.
It often does not happen, but Barrington will also perform in Fessenden Follies.
The show contains three dance soles and a number of dance groups. Barrington plays one of the soloists, and two others dance to former professional dancer Terry Orlando and artist Adele Reeves – a longtime Barrington dance student.
During her choreographic sessions, Barrington used a technique called the speed of creation. She would give a verbal or written directive, and the dancers would instinctively respond to the movements. In other words, they would improvise.
"I used David's text, they would answer, and then my responsibility would be to sculpt, organize what came," Barrington said.
Barrington solo is performed on the song Valt Vhitman. Part of her inspiration for her approach to choreography based on words comes from the modern dancer from Quebec Margie Gillis performing on the spoken word.
"It has moved so fluidly," Barrington said.
When it comes to creating speed and its combination of improvisation and organization, Barrington is a dedicated fan.
"It's an effective way to tell the dancer," she said. "It allows the dancers to easily conceive the movement because it comes from them. That's not something I put on on the them."
Speed creation was a particularly significant means in the case of Fessenden Follies, as the performers who needed to play, had different background movements.
"Movement remains in their capabilities. That's something that is clear," Barrington said. "And because it's clear to them, they are confident."
Barrington began to take ballet lessons when she was three years old. She stopped playing to raise her children and returned to the center as a young person. She graduated with choreography at the Concordia University choreography in 2012, and then continued her teaching movement and studied what is called Akis – a study of bio-mechanics and movements. She worked with Robinson three times at the local and very popular holiday pantomime.