Piece inspired by stages of grief returns for company’s 7th year
Creator Dyana Sonik-Henderson says ‘the last stage is rebuilding’
ON STAGE
What: Seven Where: Metro Studio Theatre, 1411 Quadra St. When: Friday at 7:30 p.m.; Saturday at 2 p.m. and 7:30 p.m. Tickets: $28 at TicketRocket.co; $32 at the door Dyana Sonik-Henderson of Victoria’s Broken Rhythms Dance Company was uniquely prepared when she created Seven, her contemporary dance production based on the seven stages of grief.
Sonik-Henderson created Seven, which premièred at the Victoria Fringe Theatre Festival in 2014, while grieving the death of a loved one — a loss that eventually plunged her into a deep depression.
The choreographer was pleased with the finished product, and eventually recovered.
Now, to mark the seventh year of Broken Rhythms, she is remounting the critically acclaimed production with three performances this weekend.
“In the seventh year of the company, we thought it would be the best time to remount Seven,” she said of the non-profit contemporary dance company she founded in 2011.
“The last stage is rebuilding, which has a nice circle to it.”
Sonik-Henderson’s creation was inspired by the Kübler-Ross philosophy, based on the work of psychiatrist Elisabeth KüblerRoss, which outlines the stages through which grief progresses: shock, denial, anger, bargaining, depression, testing and acceptance.
When Sonik-Henderson first began writing Seven, she said, her emotions were too close to the surface.
But with some perspective and healing, she has created an expanded version for her company’s performances on Friday and Saturday at the Metro Studio Theatre.
“As a choreographer, I have matured quite a bit.”
She added three new pieces to the program, which includes music by Finnish accordionist Kimmo Pohjonen, vocal ensemble Roomful of Teeth, electronic duo Matmos, Icelandic composer Olafur Arnalds and others.
The original version of Seven featured four dancers, but now it’s up to five, Sonik-Henderson said. A lighting designer and dramaturge have added substance.
“We’ve taken seven years of experience and put it all into this,” she said.
Seven came into being in 2013 when another Broken Rhythms production, Universal Horrors, was close to being completed. Grief put a stop to that momentum, opening the door for Seven to be created.
“I experienced personal and professional loss within a three-week period. It was one hit after another hit. The reaction to that was an adrenaline rush to push through.”
Universal Horrors — which would eventually be completed and produced — was put on hold while Sonik-Henderson worked on healing. “Out of that, I created Seven to reflect the seven stages of grief, which is what I was going through. It was a way for me to come to terms with how I was handling things emotionally, and as a dancer professionally.”
Broken Rhythms brought Seven to Fringe Festivals across Canada, winning widespread acclaim (it won Pick of the Fringe at the Victoria edition). Based on the positive feedback, Sonik-Henderson knew it would be remounted at some point. She’s pleased that it has helped both herself and others.
“People tend to hide a little bit if they are going through grief. But by us bringing this up in conversation, or someone coming to see our show, it helps them through it. It’s not meant to be a solution, but it’s another resource.”