It took me a little longer than usual to complete this review, because I had to explain the whole concept and history of Stage Challenge to my partner, dig out and display my Speech and Drama competition medals, then act out each part in every Stage Quest, Sheila Winn Shakespeare Fest, and Crash Bash entry I’d been involved in.

Dance Nation draws upon the fervour and life-changing importance felt at adolescent competitive events, whilst offering insight into the agonising internal struggles faced by children dealing with excessive pressure to excel. Claire Barron’s script has been collecting accolades and awards since its 2018 Off-Broadway premiere for its celebratory yet darkly comic depiction of precociously talented and driven preteens fighting for their place at dance comp ‘Nationals’. In the hands of Court Theatre Artistic Director Alison Walls, the story feels accessible and familiar.

One core aspect of the show is the casting of adults (aged in their 20s to 50s) with little dancing experience in the roles of prepubescent emerging stars. The mannerisms and teen intonations are at times so accurate we see them as thirteen-year-olds, while at other moments they highlight the cruelty of viewing adolescents through the adult male gaze.

My inner-Abby-Lee-Miller came to life when (spoiler alert) Kira Josephson lined up alongside the others in an early ensemble number. Here, obviously, was the tip of the pyramid, our shining and shimmying star, our dancing queen. Josephson’s tap-dancing YouTube videos helped me through a tough pandemic lockdown, so I had high hopes for high kicks and low backbends from her character…until she went down, hard, never to demi-plie again. Dance comps aren’t for everyone, Kira. Someone has to launder the leotards, right hun? Thankfully, Josephson was kept busy in the guise of a parade of dance moms, as well as choreography.

James Kupa embodied Dance Teacher Pat brilliantly; I can’t imagine anyone I’d rather have admonish my preteen triple threat for her floppy fouettés.

It seems unfair to single out individuals for mention in such a stellar ensemble cast, but, as many a dance teacher has surely explained to their students, life ain’t fair, buttercup. So, without further ado:
The Twilight Trophy for heartbreaking bloodletting and finest feral incantation goes to Keagan Carr French as Zuzu.
The Yoni Egg Award for outstanding delivery of an empowering monologue affirming female sexuality goes to the fierce, fiery Lizzie Tollemache (Ashley).
The Howl at the Moon Cup for exceptional timing (Comedic/Tragic), for her sweet, gentle wolf card compassion, goes to Jacque Drew’s Maeve. If there were as many Maeves as there are Dance Teacher Pats in the competitive dance scene, maybe fewer shooting stars would burnout.
In the face of tough competition, Rosalind Lay-Yazadani is this year’s recipient of The Rising Star Crown (aka ‘this new b*tch is damn good, let’s keep an eye on her’ award), as well as the Out Damn Spotlight Award for Period Perseverance, and the ‘Elle Woods, Who?’ Mortarboard for Brilliance in Pink Costuming.
The Ryan Gosling Unitard for Lonely Boys goes to Tom Eason, as Luke the boy dancer. Should his dance aspirations not come to fruition, I would happily adopt the adorable, hapless lone male troupe member.
The Ziegler-Siward Take A Bow: It’s Tough at the Top Trophy for nuanced humble-bragging as Amina, Ash Williams.
Galloping away with the Follyfoot Horseshoe for Excellence in Unexpected Onstage Equine Use is Kalyani Nagarajan. Nagarajan’s face may be familiar to fans of Raised By Refugees, but the facial expressions she summons as Connie are entirely unique.

The connection I felt with the characters tiptoeing in tights through their teenage years will resonate with anyone who has poured their heart and soles into any adolescent performance competition, and the insight offered into the position we put these young people in is valuable for all of us. So, dust off your leotard and start stretching, and take your places for your next role: as audience members at the Court Theatre’s triumphant Dance Nation.

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