by Clayton Carrigan

Dancing in the Light combines the diversity of theatre, contemporary ballet and a world music concert into a magical story of life, love and reincarnation. The story is beautifully portrayed using elaborate staging, lighting and multi-media effects.
A trip to India evolved into this remarkable production. In the land of the ancient Vedas and Upanishads, it was easy to enjoy the vibrations and meditate in the beautiful countryside where many great souls had contemplated life and spiritual truths. Travelling from the beaches of southern India to the Himalayas brought me new inspiration and awareness that would create the theme for the ultimate love story.
I first started writing the basis for Dancing in the Light at a small hill station in northern India, a special place where Mahatma Gandhi and Nehru, India’s first prime minister, stayed many times to discuss India’s independence from Britain. It was this surreal location overlooking the beautiful Alaknanda River that would inspire the creation of Dancing in the Light, a story that would cross the boundaries of time and culture. As the story developed, it paralleled many events of my life. Even the musical jazz style and lyrical content of my music seemed to evolve into the new awareness of the devotional aspect. Dancing in the Light became this progression of ideas and spiritual thought that manifested into a mystical tale of a soul’s journey to nirvana.
The story begins in 2500 BC India. This is the age when the forests and mountains harboured sages who were respected by all including the kings and lords of the land. To find and have an audience with such a wise and spiritual person was a great blessing for any who would make the journey.
Part of the first scene was inspired by riding an elephant in an Indian jungle. It was during the midday heat high on the back of my elephant friend that I spotted my first wild tiger and he spotted me. Laying in the meadow under a tree enjoying the shade, his attention suddenly shifted to this big elephant and rider coming his way. He surveyed us with caution as we approached. It is the tiger’s forest, but the vast size of an elephant can easily intimidate the much smaller cat. Our tiger decided he’d had more than enough of being photographed and decided to leave his spot while showing his displeasure with a deep glare.
The second scene takes place on the eve of the Crucifixion. It’s dark and windy as a crack of thunder silhouettes two Roman solders standing in front of Christ’s tomb. The injustice has nowhere to hide as many, including one of the solders guarding the tomb, feel an innocent man has being crucified. It is in this sullen place of history that justice hides among the fear of the population. It is also a bittersweet time, when something special happens in this scene.
The third scene is set during the late 1700s. The song of the loon that echoes on a misty fall morning breaks the silence of the lake. The air is thick with anxiety and fear as the aboriginal elders feel the ever-growing presence of the white man’s settlements. There is a rumor that other tribes have been put on reservations and moved from their sacred lands. This is disturbing to the tribal elders, but the chief has shown great wisdom and restraint in understanding the times may be changing forever and the prophecies are now coming true. It is a very thought-provoking part of the show where the connection with the past is challenged by the future. This scene was inspired in part by my friendship and respect for a wonderful and spiritual man named Leonard George of the First Nations people, the son of Chief Dan George. His insight into the historical and spiritual element of the First Nations people was important to make this scene authentic in the dance and the music.
The fourth scene from 1968 San Francisco shows that magic of the times is all around. The age of flower power and a new spiritual awareness has arrived in North America. The political shockwaves of the Vietnam war, the loosening effect of rock n’ roll and the end of the liberal consensus in the US were a sign of the times. The Beatles, Martin Luther King, Nixon and Vietnam all share the airwaves. It is also a troubled time with this new generation of hippy ideals and their quest for a greater awareness in society and within.
The production became a reality during a lunch meeting with an associate who had always enjoyed my original music. She was fascinated with the story and the universal, spiritual nature of its theme. It was then that we decided that Dancing in the Light should evolve to the big stage.
The first order of business was to involve those in the industry with a strong background on the world-class level of theatre and dance productions. It was through my connection with John Ottman, formally of the National Ballet of Canada, that things started to roll. He also introduced me to Sandra Botnen, a choreographer formerly with Cirque du Soleil. She loved the show’s spiritual element. Then Michael Creber, a great musician friend with whom I had played many times over the years and I had lunch, and the band was formed. It was from that point Dancing in the Light became a world premiere.
Subsequently I met with Leonard George. Add Gerald King, a world-class lighting designer, world-class musicians, actors and dancers along with the positive energy of David Mott and the Up in the Air theatre company and the concept became a reality. The world premiere is now weeks away and the show is looking incredible. Dancing in the Light is a beautiful story where the audience will partake in a soul’s ultimate journey to find nirvana.
Choreographer and director Sandra Botnen’s career with Cirque du Soleil spanned many years. In 1999, Botnen performed across Europe, the Middle East and Quebec in the hit musical Notre Dame de Paris. Her diverse experience also includes choreography for television (HBO, CBC), music videos and an artistic gymnastics career that is honoured in the Canadian Gymnastics Federation Hall of Fame for outstanding achievement. Botnen credits her experiences with Cirque du Soleil for her unique approach to dance where she was encouraged to create new forms and disregard the strict rules of traditional dance.
Botnen has rediscovered a world of artistic freedom with Dancing in the Light. “I feel fortunate to work in an environment where creativity is able to cross new boundaries,” she says. “My process is to take the language of movement to the very edge, where it can release true expression.”
It is this mastery of expression that Botnen looks for in her dancers. The troupe includes renowned Vancouver modern dancer Tara Cheyenne Friedenberg; Nathalie Lefevre-Gnam, formerly of Les Grands Ballets Canadiens; Sylvia Gertrudix, a rhythmic gymnastic champion from Spain and former artist with Cirque du Soleil and figure skater-turned-dancer Mark Pillay. Botnen sees their diverse backgrounds as a gift to the production. Her innovative choreography draws from all disciplines, including her own experience in gymnastics and yoga.
The actors include some of Vancouver’s finest in Josh Epstein, (Bard on the Beach) Sandy Medeiros, Michael Armstrong, Joan Bryans (credits include Tony and Tina’s Wedding and frequent roles in Hoarse Raven Theatre Productions to name a few).
The music in Dancing in the Light is a blend of world music styles from Indian classical, sitar and Tibetan gongs to Latin jazz and world music. All performed by top musicians and performers.
I play guitar and sing in my music, which has evolved through world-beat, Latin jazz and with a subtle Indian influence. My second CD, released in 1998, was performed mostly in Hindi and Sanskrit. I continue to collaborate on various music projects with a wealth of world-class musicians.
Michael Creber is a Grammy-nominated producer, composer and keyboardist who makes his home in Vancouver. One of the West Coast’s most sought-after musicians, he pursues a wide-ranging career both in the studio and on stage, embracing many areas of contemporary music including pop, jazz, rock, blues and country.
David Sinclair, one of Canada’s leading guitarists, toured all over the world with such artists as k.d. lang on her Ingenue tour and most recently with Sarah McLachlan on her Fumbling Towards Ecstasy, Surfacing and Lilith Fair tours. He has appeared on many television shows including David Letterman, Jay Leno, Conan O’Brien, Good Morning America and Saturday Night Live.
Miles Black, on piano and keyboards, has performed with many established artists from all corners of the globe. He has toured internationally, including a cross-Canada trip in 1996 with his own quartet, featuring legendary drummer Claude Ranger.
Jessie Zubot, violinist, is one of Canada’s most respected fusion players. He has been nominated for various music awards in BC and nationally. He performs in the popular duo Zubot and Dawson at major folk and jazz festivals across Canada.
Miles Foxx Hill is one of the top session bass players in Canada and a staple on the Vancouver music scene. His styles range from Latin to jazz and world beat.
Rafael Geronimo is a well-known Latin jazz and salsa percussionist who has been playing in bands and performing since childhood. A versatile and well-respected percussionist, he is a staple at many large world music festivals across Canada.
Phil Robertson, on drums, has been on the Vancouver scene for 20 years as a member of Idle Eyes. He has also been a drummer for Burton Cummings, Paul Janz, Sue Medley, Valdy and Ellen McElwaine, among others.
Richard Hite, on Tibetan gong and chimes, is a well-known performer who is also a recording artist known for his CDs Icaros, Gong Songs for Shamanic Journeys and A Calling of Angels.
James Hamilton on sitar has spent over 25 years studying the music of India. He played with the renowned Radhika Mohan Maitra and Kalyani Roy during his years there. He is now leader of the world music ensemble Eastern Star.
Monish Thakrabort on tabla is from New Delhi as are Uman Tohan on percussion and vocalists Kirin Tohan and Gitika Tohan.

Audiences will get a chance to see this dynamic production and hear its phenomenal music when it makes its world premiere October 8 and 9 at the Queen Elizabeth Theatre. The Dancing in the Light CD will be released September 10.The CD is an accumulation of styles from world beat to Latin jazz. There is also an Indian classical and devotional song in Hindi. It’s a CD that was two years in the making and features many of the musicians playing in the performance.

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