\n\t\t\t\t\t\t\t\t\t\t
![\"Suzane](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/04\/4120018_web1_ph_BDL_Glitch.09_promoSuzane-ONeill-min.jpg\")
\n\t\t\t\t\t\t\t\t\t<\/a><\/p>\n
Suzane ONeill photo<\/p>\n
Glitch tells its story through body language, which has allowed it to travel to dozens of countries.<\/p>\n
A few years ago, with the pandemic shuttering theatres across the country, Langevin returned to those early experiments in self-discovery and forgivable mischief.<\/p>\n
The 66-year-old choreographer and her creative partner Audrey Bergeron began developing a show about the childlike audacity and tenacity required to make believe even when forces beyond our control deny us the right to play.<\/p>\n
In Glitch, the latest production on Manitoba Theatre for Young People\u2019s mainstage, four performers \u2014 Carlos Mendoza, L\u00e9a Noblet Di Ziranaldi, Chlo\u00e9 Ouelle-Payeur and Marie-\u00c8ve Dion \u2014 head underground to a dimly lit storage room beneath an abandoned theatre.<\/p>\n
Like Langevin\u2019s grandmother\u2019s home, the space is full of closed boxes and crates whose contents inspire the surrealist dance show to come.<\/p>\n
But the quartet of explorers is quickly joined by what Langevin calls \u201cthe fifth character\u201d: a laser beam that directs the playful excursion. As the characters search for light in the darkness, the laser beam finds them and beckons them to move.<\/p>\n
This laser beam isn\u2019t the handheld pointer favoured by geeky lecturers or immature pranksters. Instead, it\u2019s a computerized, programmable projection device that ricochets across the stage to define the theatrical space.<\/p>\n
Co-ordinated by Jimmy Lakatos with effects by sound director Guy Fortin, the beams can dance together to form barriers, conic entrapments or super-spy tripwires that could trigger the theatre\u2019s intruder alarm.<\/p>\n
Like many of the shows created by the production\u2019s company, a young people\u2019s dance theatre called Bouge de l\u00e0, Glitch is intended to tell its story through the kinesthetic potential of the human body as it navigates the container of the performance itself.<\/p>\n
\n\t\tWinnipeg Free Press | Newsletter\n\t<\/p>\n
\t\t\tDish<\/p>\n
Every Second Friday<\/p>\n
The latest on food and drink in Winnipeg and beyond from arts writers Ben Sigurdson and Eva Wasney.<\/p>\n
\t\t\tSign up for Dish<\/a><\/p>\n \t\t\t\t\t The result is stark imagery and emotive movement, a combination that has allowed Bouge de l\u00e0 to perform in dozens of countries while traversing linguistic barriers.<\/p>\n \u201cDance is the common word,\u201d says Langevin, who co-founded Bouge de l\u00e0 in 2000.<\/p>\n \u201cIt\u2019s a body language. Everyone in all countries understands it. The kids react to the body. If it\u2019s very exciting, they will jump on their feet. If they see quiet, they will be quiet. If it\u2019s laughing, they will laugh.<\/p>\n \u201cThere is always a direct reaction from the bodies on stage to the bodies of the children. That\u2019s what I like about this \u2014 it\u2019s not about language.\u201d<\/p>\n winnipegfreepress.com\/benwaldman<\/p>\n \t\t\t\t Ben Waldman Ben Waldman is a National Newspaper Award-nominated reporter on the Arts & Life desk at the Free Press. Born and raised in Winnipeg, Ben completed three internships with the Free Press while earning his degree at Ryerson University\u2019s (now Toronto Metropolitan University\u2019s) School of Journalism before joining the newsroom full-time in 2019. Read more about Ben<\/a>.<\/p>\n Every piece of reporting Ben produces is reviewed by an editing team before it is posted online or published in print \u2014 part of the Free Press\u2018s tradition, since 1872, of producing reliable independent journalism. Read more about Free Press\u2019s history and mandate<\/a>, and learn how our newsroom operates<\/a>.<\/p>\n<\/p>\n<\/p>\n
Reporter
\n\t\t\t\t\t\t\t\t\t<\/a>
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n