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About "Small dramas and other miscommunications"

choreographed by Rebecca Hope Terry 2007

"...Rebecca Hope Terry has achieved what most choreographers aspire to do: to move the audience on an intimate level and tell them a story through waves of emotion that help to reveal the human experience. Terry reveals what can happen when the heart has been closed, either by choice or by social constraints. She does this by showing how the body reacts to inner battles and how we adjust to others in order to survive."

"Terry understands the psychology of movement and has an innate knowledge of the voice and body and how they function based on social convention. She exposes the nuances and ironies in daily life and the questions we utter under our breath while we move through time and space."

- Sarah Snowdon, Suite 101

About The Eggshell Lady, (Variete, Gladstone, 2004) Clown/choreographer:

Rebecca Hope Terry

The Eggshell Lady -a sublime piece of clowning from Rebecca Hope Terry. Her timid character’s struggle with eggshells and gravity – every step, crunch and cringe timed to perfection – reduced Friday’s audience to hysteria, while at the same time stabbing the heart with compassion and recognition- that flash that illuminates, for the duration of a belly laugh, the trajectory of hopes and crumbled dreams that make up a human life.”

Tamara Bernstein, National Post, Feb. 2, 2004

Rebecca Hope Terry in The Eggshell Lady. As pure a bit of clowning as the dancer/actor has ever done, the piece relies on Terry's comic timing, droll expressions and innocent manipulation of two hollowed eggs painted red.- Susan Walker, The Toronto Star, Jan. 30, 2004

About The End of the Line, The Theatre Centre, Director Patti Powell, actor/dancer Rebecca Hope Terry

“Only Rebecca Hope Terry manages both forms with aplomb. ( acting and dancing)”

-Susan Walker, Toronto Star, Jan. 19, 2004

About Weather, writer, choreographer, performer Rebecca Hope Terry -

“Terry can, however, claim a lifetime membership among a select group of performers with a natural gift for transmitting emotional sincerity and vulnerability.”
- Kamal Al-Solaylee, The Globe and Mail, Oct 1, 2003

"genuinely charming" -Dan Bye, Sunday Herald, Edinburgh, 2002.

"strangely endearing...enough eye candy and emotion to melt the coldest heart."

-Phil Maynard, The Independent Voice, Edinburgh, 2002

" Weather demonstrates that sometimes a happy, smiling face covers a darker psyche. This is a message that needs to be heard and is presented with great simplicity."

-Philip Fisher, The British Theatre Guide.

" Terry is blown across the stage, arms and legs flailing, like snow driven by the wind..."

-William McEvoy, The Stage

" Not since Nicole Kidman did for her husband in the film To Die For, have the neurotics of a TV weather girl been so strangely compelling." -Sarah Barrell, The Independent

" ... sharp, refreshing edge of emotional honesty... full of charm and compassion and delivered with real physical flair, straight from the heart." -Joyce McMillan, The Scotsman

"quite a blast." -Thom Dibdin, Edinburgh Evening News

" Terry creates a quirky kind of pathos. She also brings (sic) an awesome physicality to the role..."

-Steve Cramer, The List

"charmingly surreal... cleaver physicality..." -Robert Dawson Scott, The Times.

about Few Thousand Miles writer/director Serge Bennathan, actor Hope Terry

"Beautifully recited and acted out by Hope Terry, the verses evoke a vast range of feelings...And the climax - Terry's dramatic solo sprint alongside the group's slo-mo striding - is worth the price of admission alone.- Daryl Jung for NOW magazine 2000

about At A Loss choreographer and dancer Hope Terry-

'...a seamless integration of dance, literature and physical theatre. So why does she dance? Largely to tell stories." -Deidre Kelly for The Globe and Mail 1998

" At A Loss, a tender solo about grieving the movement was succinct and poised and satisfying. Terry danced this piece herself and she was both majestic and vulnerable. With such a strong and compelling presence she should take centre stage more often."

-Deidre Kelly for The Globe and Mail 1995

about Four Solos/Four Cities, choreographer Lola MacLaughlin-

"Terry's range of movement and the crisp elegance of her lines made her lovely to watch." - Gail Johnson for The Georgia Straight 1998


about The Lesson, choreography Jennifer Mascall-

"The creative energy and intensity of Hope Terry and Olivia Thorvaldson were amazing and inspiring."

-Suzy Konigsberg for Angles 1992

If I stood back far enough, I could see my whole body in the mirror, not just my legs. The floor was avocado green granite. I learned my first plies here, in this room that used to be a porch, with my spunky teacher Florence Abel in Chatham. Little did I know I would have a 30+ year career. Thought I would give it a try and see what happened and I got hooked. I began my career with the brilliant and curious Jennifer Mascall in Vancouver. Wanting to carve out a bit of a different space, I was accepted into Toronto’s Dancemakers under the direction of Serge Bennathan. I still returned to Vancouver to work with many choreographers including Lola MacLaughlin (late) and Cornelius Fischer Credo.



I have been in pieces about,

people who don’t belong,




and life’s simple problems.
I ventured into the world of theatre, trained in voice, went down to study classical theatre at Shakespeare and Company in Lennox Massachusetts. I was a clown that did not go to clown school and was coached by Dean Gilmour and Mark Christmann. Now after 15 years, I still perform under Denise Fujiwara’s mentorship in her theatre/ Butoh inspired works.

I dance, sing and cry often.

Fond highlights:
Walking from rooftop to rooftop, in Berlin.
An audience member calling out Bonjour petit oiseau! in Morocco.
Luba Goy telling me she thought I was funny.
Dancing on outdoor sap covered stages in Greece.

Commiserating and celebrating with my beloved fellow artists.

I really am a lucky girl.

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