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"Kiss The Stormy Sky" originated from a question posed by Elder Maria Montejo during my participation in her workshop, Indigenous 101, at Dodem Kanosha, where I sought to learn the intricacies of delivering a land acknowledgment.
Elder Maria's inquiry, "find out where you are indigenous to," prompted an exploration into my own family history, leading me to uncover the narrative of my great great grandfather, Henry Eilers - a German who traversed the tumultuous landscapes of Russia during the Russian Revolution. His journey, intertwined with the shadows of the Nazi regime, eventually culminated in my grandparents seeking refuge in Canada, arriving in Halifax on July 1, 1950. Their story, like many others, echoes the resilience of settlers and acknowledges our debt to the Indigenous custodians of this land.
Driven by a desire for introspection, I embarked on a personal journey to understand the twists and turns of my own life and to unravel the reasons behind my delayed self-acceptance. "Kiss The Stormy Sky" emerged as a platform for connection, a space to share, be acknowledged, and understood.
The mysteries surrounding my ancestors continue to beckon, particularly through the detailed journals left by my great great grandfather, Henry Eilers. These chronicles offer insights into his experiences as a gardener employed by Czars in late 19th-century Russia, detailing his rise to wealth and subsequent loss during the Russian Revolution. The echoes of his story resonate through subsequent generations, including my grandfather Alfred, who managed the family business, Eilers Blumen, in the 1940s, until it was abandoned during the Nazi regime. Their narratives, though grand and dramatic, have left an indelible mark on my life, shaping the exploration depicted in this show.
As I grappled with understanding my gender identity, my therapist encouraged experimentation. This included rekindling my childhood love of dress-up and then as an adult exploring how I could appear as masculine or feminine as possible. Through exploring expressions of masculinity and femininity, I discovered the limitations of binary definitions and embraced the fluidity of my non-binary identity. This playful exploration of personas and attire has woven itself into the fabric of "Kiss The Stormy Sky."
Content Advisory
Kiss The Stormy Sky contains themes of:
Recommended for ages 14+. A full content warning is available at the venue and upon request. Audience members are encouraged to move, pause, or take space as needed.
May 21, 2025 | 7:30 PM
The Registry Theatre
Kitchener, ON
May 22, 2025 | 7:30 PM
The Registry Theatre
Kitchener, ON
June 26, 2025 | 7:30 PM
The Winchester Street Theatre
Toronto, ON
June 27, 2025 | 7:30 PM
The Winchester Street Theatre
Toronto, ON
June 28, 2025 | 7:30 PM
The Winchester Street Theatre
Toronto, ON
July 17, 2025 | 7:00 PM
Odd Meridian Arts | Morrow
Vancouver, BC
July 18, 2025 | 7:00 PM
Odd Meridian Arts | Morrow
Vancouver, BC
July 19, 2025 | 7:00 PM
Odd Meridian Arts | Morrow
Vancouver, BC
July 20, 2025 | 7:00 PM
Odd Meridian Arts | Morrow
Vancouver, BC
Creator & Performer
Sid Ryan Eilers (they/them)
Composer
Shanika Lewis-Waddell (she/they)
Co-Director
Danielle Denichaud (she/her)
Stage Manager
AJ Morra (she/her)
Assistant Stage Manager
Amy Bell (she/her)
Projection
Clairandean Humphrey (they/them)
Costumes
Tanis MacArthur (she/her)
Sound Designers
Vik Mudge (he/they) & Rudi Natterer (he/him)
Puppeteer Coach
Leia Mahoney (she/they)
Queer Conscious Moving Bodies Workshop Co-Facilitator:
Shannon Kitchings (she/they)
Dramaturg:
Anna Chatterton (she/her)
Outside Eye:
Louis Laberge-Côté (he/him)
Program Prompt Questions
Robin Lacambra (she/they)
Creative Operations Assistant
Cass Cabral Pucci (they/them)
LEGACY CREDITS
Co-Director: Kathleen Rea (she/her) 2023
Outside Eye: Megan English (she/her) 2022, 2023
Stage Manager: Rose Hopkins (she/her) 2022
Stage Manager: Vik Mudge (he/they) 2023, 2024
Lighting Designer: Tristan Whiston 2023
An analytical framework for understanding how a person's various social and political identities combine to create different modes of discrimination and privilege. Intersectionality identifies multiple factors of advantage and disadvantage. Examples of these factors include gender, caste, sex, race, ethnicity, class, sexuality, religion, disability, weight, and physical appearance.These intersecting and overlapping social identities may be both empowering and oppressing.
The term gender binary describes the system in which a society allocates its members into one of two sets of gender roles and gender identities, which assign attributes based on their biological sex (chromosomal and genitalia).In the case of intersex people, the gender binary system is limited. Those who are Intersex have rare genetic differences which can give them the sex organs of both sexes or otherwise non-normative genitalia and may have difficulties fitting into the gender binary system.
Often shortened to comphet, is the theory that heterosexuality is assumed and enforced upon people by a patriarchal and heteronormative society. The term was popularized by Adrienne Rich in her 1980 essay titled "Compulsory Heterosexuality and Lesbian Existence". According to Rich, social science and literature perpetuate the societal belief that women in every culture are believed to have an innate preference for romantic and sexual relationships with men. She argues that women's sexuality towards men is not always natural but is societally ingrained and scripted into women.Comphet creates the belief that society is overwhelmingly heterosexual and delegitimizes queer identities. As a result, it perpetuates homophobia and legal inequity for the LGBTQ+ community.
My great grandfather worked for the Czars as a gardener at the St. Petersburg Palace and was part of the bourgeoisie. The Russian Revolution of 1917 was one of the most explosive political events of the 20th century. The violent revolution marked the end of the Romanov dynasty and centuries of Russian Imperial rule. Economic hardship, food shortages and government corruption all contributed to the downfall and assassination of Czar Nicholas II. This included my great grandfather losing all his wealth and his family was forced to scatter the globe. I have distant relatives in Finland, South Africa, South America, America, Canada, Russia and Germany.
My grandmother and grandfather lived in Hamburg during the first half of the 20th century. Towards the end of World War II, British and American airforce dropped 39,000 tons of bombs, killing about 42,000 German civilians in Operation Gomorrah. This continued until the Nazi regime finally surrendered in May 1945. During this time my Grandmother escaped to Kitzbühle, Austria. They all returned to Hamburg after 1945 and then found passage to Canada in 1950.
Harvey Weinstein was sentenced to 23 years in prison, the culmination of a case that fueled the global #MeToo movement and encouraged women to speak out against sexual abuse. When My mother watched the trial on CNN she became so agitated and upset and shared the story, which was shortened and many details omitted but is animated and shared in the final monologue of Kiss The Stormy Sky.
Thank you to the presenting partners whose belief in this work has kept it alive: Chris Stanton and the Hamilton Fringe; Deanna Jones and Suitcase in Point for In the Soil; Isaac Mulé and the OutFest team in Halifax; Sam Varteniuk and The Registry Theatre; Holly Bright at Crimson Coast Dance; and Ziyian Kwan at Odd Meridian Arts. Your leadership sustains independent performance.
To Sarahi Cárdenas, The Fifth, and Casa De Danza—thank you for offering space and resources that made this tour possible.
To Canada’s National Ballet School—thank you for your continued support.
To the artists and collaborators who shaped Kiss The Stormy Sky—thank you for your rigour, presence, and creative honesty.
To Danielle Denichaud: co-director, outside eye, coach, and mentor—your care and insight shaped every layer of this work. Thank you for walking beside me in process and policy.
To Cass Cabral Pucci: thank you for your administrative skill, emotional labour, and commitment to building EILERS Dance Theatre with integrity.
To AJ Morra and Amy Bell: your curiosity and technical support as summer technician brought heart to this process.
To Andrea Nann: for your leadership through the Conscious Bodies Practice and Method.
To Shahar Binyamini: for sharing with me the rigour of your choreographic research and teachings - for creating ways for me to reach my dancing possibilities and lastly for the encouragement to explore character and movement through costume.
To Henry Mak: for your thoughtful documentation and expanding this work’s reach.
To Shn Shn: your music carries this piece in ways words cannot thank you for your sound and spirit.
To Maria Montejo: thank you for your teachings and for opening the door to ancestral memory.
To the founding board of EILERS Dance Theatre: MK Alderson, Kelly Wolf, and Sandy Marshall: thank you for your trust and belief in this vision.
To James Farrington: for The Gardener’s Journal, and for allowing this story to live within it.
To my first company Aeris Körper and the Hamilton organizations support its growth Zee Float, Defining Movement Dance, Theatre Aquarius, and Goodbody Feel. To Robin Lacambra: thank you for supporting the roots of this journey.
With gratitude to the Hamilton City Enrichment Fund, Ontario Arts Council, and Canada Council for the Arts for your support of independent artists and visionary work.
To my mother: thank you for granting permission and asking that your story be shared.
To my child, Quintin: you are my mirror, my anchor, and my motivation.
To Sharon: for your steady love, for your unwavering belief in me and for all the fun, joy and passion you bring to my life.
To the land, wind, water, sun, plants, animals, ancestors, the young ones who carry this work forward, the elders whose memories echo within it, and those who’ve passed into knowing…thank you for your guidance.
To Nicole Eilers: may your memory be held in freedom and peace.
PHOTOS BY CARTER SMITH & MARLOWE PORTER
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