Double bill


JANUARY 18-20, 2024 - 7PM

JANUARY 21, 2024 - 4PM*


*The relaxed performance on Sunday, January 21, will be interpreted in Québec Sign Language (LSQ)


Discussion with the artists on January 19

*The first work of this double bill is 38 minutes, the second one is 35 minutes, and they are separated by a 15-minute intermission. The relaxed performance on Sunday, January 21, aims to make the space more comfortable and welcoming for all. Some adjustments have been made so that the performance is easier on the ears and the eyes, and so that the space feels more relaxed. For more information, you can read the show guide.

  • An announcement will be made and explanations will be given at the beginning of the show.
  • House lights are adjusted so that the venue is never fully dark.
  • Doors remain open so that guests can enter and leave the audience space throughout the event, as needed.
  • Sound is adjusted to a lower level and earplugs are available for increased comfort.
  • Guests can vocalize or move throughout the audience space.
  • Guests can stay in the theatre or leave it during the 20-minute intermission.
  • Lighting does not include strobe or flash.
  • Latecomers are admitted.
  • More staff is on hand to guide you during and after the performance.
  • A chill-out space is available in the passageway for guests to take a break and rejoin the performance when ready.
  • Quiet music is played in the café-bar before and after the show.
  • A creative audio description of Iconic is a part of the show in English only. A French translation is available in large print for those accompanying audience members who have low vision or blindness.
1st work - 38 minutes

National accessArts Centre (Calgary)


Iconic is a disability-led dance-based performance created by the National accessArts Centre dance ensemble. Expressed as a collection of solos, duos and group work, Iconic incorporates a wide range of dance, performance styles, individual expression, and collaboration driven by the ensemble’s personal vernacular and lived experience. Through movement, visual art, audio, and conversation, Iconic explores concepts of love, loss, independence, relationships, and alter egos. Rooted in improvisation, this ground-breaking work creates a spectacle that is accessible to both artists and audiences.

Take part in an integrated movement workshop open to all with the National accessArts Centre team!

Playful·Performance art·Experimental
Kathy M. Austin
Choreography and performance
Alicia Morrison
Choreography and performance
Hank «Dommix» Round
Choreography and performance
Meg Ohsada
Choreography and performance
James Silcock
Choreography and performance
Ashley Brodeur
Management, performing arts and rehearsal support
Chawna Exner
Rehearsal support
Cassieopeia Holmes
Technical translation
Logo NaAC fond blanc
National accessArts Centre
Logo Fond blanc
National Arts Centre
Financial support
Logo du gouvernement du Canada
Canada Arts Training Fund
Financial support
CAC Logo, bleu
Canada Council for the Arts
Financial support

Financial support Calgary Arts Development, City of Calgary, Province of Alberta

Residency Decidedly Jazz Danceworks

During the exploration of icons, the ensemble artists have created characters to ground their stories and movement. Each ensemble member has developed a character with a rich backstory, some even creating a whole universe for them. In the dance work, these characters explore their identities, collide, and grow. The fullness of the characters is respected in the structure of the performance. Having the ensemble members set key moments of choreography allows them the freedom to constantly explore the expression of their characters. The removal of traditional choreography allows the artists to approach the performances as if it was a living organism that is allowed to grow, converse, and change. The work requires the artists to be fully present, not to replicate movement but to constantly explore.

After one year as a student, Kathy M. Austin joined the Ensemble and is now the longest standing member. Kathy is a talented visual artist with works exhibited internationally in Dubai (2019) and Vienna (2012). Global Affairs Canada has since collected these works. A freelance writer for 25 years, she titled the 2015 show I Didn’t Wear My Raincoat from a piece of poetry she had written. Kathy also choreographed and performed Scramm, a solo work in The Mind Palace, which also included improvised poetry and live painting each performance.

A member of the Ensemble since 2017, Alicia Morrison has expanded her own creativity, learnings and repertoire exponentially through her time with the Ensemble. Dancing a pivotal role of a shape-shifter in the 2017 performance of The Mind Palace, she also helped co-create this piece and her solo in the Ensemble’s film, Moving Pictures, Pictures Moving. Off the stage, she regularly nurtures her artistic practice through community dance classes and visual arts. Alicia shares her love of dance through assisting The Roots of Jazz alongside Dinou Marlett Stuart, Decidedly Jazz Danceworks Alumni, and in her own class, Gratitude Gogo. She expresses her love of writing, storytelling and song through Act One, a collaborative program between the NaAC and the Calgary Opera.

Hank “Dommix” Round started rehearsing with and joined the Ensemble in 2018, performing in the full-length production The Mind Palace. He was a member of the NaAC’s premiere Queer Accessible Arts Cabaret and took the stage in a powerful expression of drag. He has also performed with Fake Mustache Drag King Troupe and appeared in the Ensemble’s film, Moving Pictures, Pictures Moving. A triple threat, Dommix is working towards being a television star, radio host, performer, and singer.

Meg Ohsada is a 27-year-old artist, contemporary dancer, Special Olympics gold medal winning figure skater, rhythmic gymnast, and model who happens to have Down syndrome. A natural performer, Meg has performed with figure skating greats like Tessa Virtue, Scott Moir and Patrick Chan in Rock the Rink, and has competed in Los Angeles, Austria, and Korea. A new member to the Ensemble, Meg recently modelled for the Radical Beauty Project, an art project about challenging opinions about beauty in contemporary culture.

James Silcock began dancing with MoMo in 2009. He has since began teaching and joined the Ensemble, performing in Imaginary People, The Mind Palace and the ensemble’s dance film Moving Pictures, Pictures Moving. Not only does James bring a great deal of rhythm and funk to the Ensemble and his classes, he is also exploring his choreographic and spoken word talents, bringing his characters to a new level. James can’t wait to be on stage once again in the near future!

Director of Maven Movement, providing professional-level inclusive performance and training opportunities has been Ashley Brodeur’s focus for the past eight years. With professional performance credits including the Dubai Shopping Festival, Toronto Fringe Festival, TIFF, BravoFact!, Loreal, Labatt and XBox, and the Much Music Video Awards, she is motivated to ensure that professional performance opportunities are available to all, especially those traditionally underrepresented. An attendee of the BFA Dance Program at York University, the Commercial Dance Program at George Brown College and the Professional Training Program at Decidedly Jazz Danceworks, she has trained with AXIS Dance Company, Parable Dance, and around the world.

With a background in various dance styles, Chawna Exner has had a life-long relationship with dance. After pursuing her BFA in the University of Calgary Dance program, Chawna discovered the art of burlesque and has since established herself as a prominent burlesque artist as Eva Angel. Burlesque has brought her to many stages in Calgary and across Canada, including the Calgary, Vancouver, and Edmonton International Burlesque Festivals, Wild Mountain Music Fest, and Calgary’s High Performance Rodeo. In 2018, Chawna began work with an accessible dance company, Momo Movement (now National accessArts Centre), and has sought to discover ways to bring equity and accessibility into dance and burlesque ever since.

Cassieopeia Holmes is a theatre artist, designer, creator, and collaborator based in Calgary. She recently graduated with her MFA in Design and Technical Theatre at the University of Calgary. Her research primarily focuses on accessibility in live performance and lighting diverse skin tones. Cassie is also an advocate for the queer community, and you may have seen her performing in drag under the stage name Struggle Bussy.

2nd work - 35 minutes

Mathieu Hérard

Mon horoscope me trouve laide

An homage to lip sync, Mon horoscope me trouve laide explores the absurdity and poetry of using the voice of another person. Everything is possible through the magic of dubbing: caricaturing someone else’s traits, gaining confidence through another’s words, changing by taking on a personality that isn’t ours. With this parody that might at first appear artificial, this duo exposes the reality of our everyday lives stuffed with popular references.

Absurd·Playful·Performance art
Mathieu Hérard
Choreography and performance
Raphaëlle Renucci
Performance and creative collaboration
Manon Pocq Saint Joan
Lighting design

Financial support Bourse Sofia-Borella

This project was supported by the Conseil des arts de Montréal as part of our “Donnez un coup de pouce, déplacez une montagne!” crowdfunding project on the La Ruche platform, a Tangente partner.

Originally from Eastern France, Mathieu Hérard rubs shoulders with the world of theatre from an early age while learning about the visual arts. Wishing to pursue professional artistic training, his career takes him to the Conservatoire de Strasbourg alongside Virginia Heinen, Francis Viet, and Jean-François Duroure from the Tanztheater Wuppertal Pina Bausch. Always passionate about theatre, which he continues to practice assiduously, he then joins École de danse contemporaine de Montréal, where he has the opportunity to travel through different physicalities and to develop powerful links between text and movement, which is particularly close to his heart. At the same time, he plays in several plays in which he has the pleasure of embodying various characters with the most exhilarating speeches. Driven by humour and the need to make those around him laugh, Mathieu is building more and more bridges between dance and theatre, and wishes to pursue his career between these two disciplines.

Originally from Corsica, Raphaëlle Renucci studies classical music (cello and piano) at the conservatory from an early age. She later discovers contemporary dance and integrates the Conservatoire de Bordeaux in her early twenties. After, as she is doing a university degree in kinesiology, she takes off, thanks to this program, for a one-year student exchange in Montréal in the UQAM dance department. The following year, she integrates École de danse contemporaine de Montréal, from which she graduates in 2018. Since then, Raphaëlle collaborates as a dancer and musician with various artists and companies, such as Cirque du Soleil, the Sursaut dance company, Sylvain Émard Danse, Morgane Letiec, Idan Cohen, Francine Châteauvert, Liliane Moussa, Manon Oligny, Compagnie Voix, Andrew Skeels, the Flamant collective, Stefania Skoryna, Stéphanie Fromentin, Rebecca Lazier, Mathieu Hérard, and the French band Kolinga. Throughout her career, Raphaëlle also choreographs her own pieces in different contexts: Scènes Ouvertes at the Conservatoire de Bordeaux (2014), Passerelle 840 at UQAM (2015), Cégeps en spectacle, national prize (2016), the orchestra Ensemble Volte (2019), and Kolinga’s music video for “N’guya Na Ngai” (2020). In 2023, Raphaëlle develops an attraction to circus arts when she collaborates with Rebecca Lazier as an aerial dancer in the hybrid project Noli Timere. That year, she also takes on the role of assistant choreographer for Jacques-Poulin Denis and of rehearsal director with Mathilde Heuzé in a multidisciplinary project mixing dance, circus, VJing, and music.

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