“Style is the answer to everything,” poet Charles Bukowski once wrote in his poem Style, which included the line, “To do a dangerous thing with style is what I call art.” And by that definition Tango, to the Pointe, presented by PointeTango is the epitome of art. I recently had the pleasure of watching dancers Erin Scott-Kafadar and Alexander Richardson perform their work at the 2022 Vancouver Fringe Festival. Tango, to the Pointe is not only an impressive fusion of Argentine tango and classical ballet, but also a breathtakingly beautiful celebration of art.
Scott-Kafadar and Richardson are athletes and artists of the highest order, displaying impressive and visually stunning dance, including some exciting lifts that see Scott-Kafadar soar high above the stage. The show is completely captivating from start to finish, and emits the sultriness of tango (you can feel the heat from the stage), while glowing with the ethereal grace of ballet. Scott-Kafadar and Richardson’s chemistry is off the charts, and throughout the show they take us through the emotional dynamics of an evolving relationship.
Photo credit: Mark Ruddick
Scott-Kafadar dances en pointe throughout the show, which is impressive for a number of reasons. First of all, dancing en pointe is extremely difficult, and she does so much of it throughout the hour-long show. Secondly, as the female partner in tango is traditionally in heels, the pair have had to adjust their choreography and technique. And adjusting tango for pointe shoes is only part of the melding between the two dance styles.
Whereas ballet is done with turned out legs and feet, much of tango is done in parallel. Scott-Kafadar and Richardson have masterfully maintained the authenticity and technique of tango, with superb form in everything from their holds and patterns, to quick swivels, sharp boleos and leg flicks, to sensually sweeping barridas. All the while, Scott-Kafadar goes up en pointe at every opportunity, and finds many moments to turn out and infuse classical ballet moves, impressing us with her exquisite lines and extension.
And speaking of lines and extension, Scott-Kafadar’s are among the best in the business, with extraordinary flexibility, and stunning arabesques, penchés, battements, and jetés. She’s ethereal in every way, even in how she does set changes; for example, going en pointe when she’s moving the lights. She also demonstrates excellent technique in her pointe work. It’s hard not to marvel at her footwork whether she’s dancing with Richardson or dancing solo. There’s a scene where she dances alone onstage with a ballet barre, and I could have watched her doing échappés all day.
Photo credit: Mark Ruddick
Richardson is an equally strong dancer, and colours his first-rate tango technique with impressive dynamics, emotions, and musicality. Both dancers have a wonderful sense of humour, which they cheekily infuse into parts of the show. As for the partnering, Scott-Kafadar and Richardson’s work is incredible. There’s too many partnering elements to discuss, so beyond gushing at the high-flying lifts, I will only highlight two personal favourites: The assisted pirouettes that the pair do, with Scott-Kafadar doing multiple pirouettes at a supercharged speed before stopping on a dime; and a moment in the show when Scott-Kafadar reinforces how in partnering, both dancers are equally strong, by lifting Richardson.
Tango, to the Pointe is also visually stunning, and it far surpassed my expectations, given how simple the setup appeared to be from the start. The only set pieces are light sticks that the dancers move into different formations throughout the show. But the combination of the formation changes and the colour and light pattern variations is surprisingly effective.
Throughout the show, there are also projections on a screen at the back of the stage. The art stills and videos on the screen are sophisticated and gorgeous. From a video of Richardson playing the piano, to European street scenes, to a gramophone, the visuals go with the mood of each piece and help set the vibe. Add in the lighting and costumes, and of course the exceptional dancing – and watching Tango, to the Pointe is like witnessing an art film come to life.
Photo credit: Mark Ruddick
One of the highlights of the show is the number “Style”, where Scott-Kafadar and Richardson dance to Bukowski reading his poem. In this steamy number, where Scott-Kafadar wears a sexy, black costume that reminded me of Bob Fosse’s Chicago, and Richardson wears a fitted white tank top that he later sheds, the pair exude sass while pulling off moves that are both athletically and aesthetically brilliant. And if all that isn’t impressive enough, Scott-Kafadar dances with a pointe shoe on one foot, and heels on the other! And of course, both shoes are black. Everything about this number is the definition of “style”.
As I mentioned earlier, Tango, to the Pointe takes us through the journey of a couple’s relationship, and Scott-Kafadar and Richardson are superb in evoking the emotional complexities that happen in relationships. At the end, both dancers are barefoot and perform a contemporary-flavoured piece that signifies where they’ve come to in their relationship. The partners show each other they are grounded and mature, and ready to be emotionally raw, exposed, honest, and vulnerable with each other. It’s an exquisite finish to a remarkable work of art.
Tango, to the Pointe, presented by PointeTango, was performed as part of the 2022 Vancouver Fringe Festival that ran from September 8-18. Visit PointeTango’s website for future performances and more information on the company.