Review: OPHIS (Transcen|Dance Project)

What happens when the monster gets to tell their own story?

Back with another fantastic immersive dance experience is OPHIS, presented by Transcen|Dance Project. Created and choreographed by Julia Cratchley with an original score by Owen Belton, OPHIS reimagines the myth of Medusa in an intimate site-specific performance that takes over all three floors of Toronto’s historic Great Hall.

There is no company I talk about more—rave about more—than Transcen|Dance Project. Their works are immersive, magical, and incredibly cinematic. From the moment you arrive, you’re handed a wax-sealed envelope and a masquerade mask. Audience members wear masks to distinguish themselves from the cast and crew. After an opening monologue in the main hall, you’re free to roam.

Characters drift through rooms, staircases, and shadowy corridors, weaving their stories around the building and sometimes right past you. As an audience member, you become a fly on the wall, choosing your own path and following whatever draws you in most. Each character’s arc repeats twice over the 90-minute runtime, giving audience members the chance to revisit favourite moments or follow someone entirely new the second time through.

This is my third time attending a Transcen|Dance Project work. The first was A Grimm Night, the second Eve of St. George, and now OPHIS—meaning “snake” in Greek. While the previous productions focused on the Grimms’ fairy tales and the world of Dracula, OPHIS dives deep into Greek mythology, centering on the life and transformation of Medusa.

I’ll admit, I did not know much about the story of Medusa walking in. I would recommend brushing up a bit before attending. Most of us know Medusa as a figure in Greek mythology with a head of snakes and a gaze that turns people to stone. But before she became a monster, she was a mortal woman—beautiful, powerful, and tragically caught in the crosshairs of the gods.

The story goes: Medusa (played by Kelly Shaw) was the only mortal among the three Gorgon sisters (played by Martha Hart and Jazzim James). Her beauty drew the attention of Poseidon (played by Jack Davidson), who pursued her and, according to myth, violated her in Athena’s temple. As punishment, Athena (played by Joey Arrigo) transformed Medusa’s hair into serpents and cursed her to turn any man who looked upon her to stone.

Rather than casting Medusa as a victim, OPHIS reclaims her as a symbol of power and resilience. The production charts her transformation from human to Gorgon—a scene that stood out as one of the most striking of the night. Using shadows behind a white curtain and a dramatic score, we witness Athena wielding her powers in a charged and painful sequence that reshapes Medusa into something feared and fierce. The choreography here is sharp and expressive, a physical battle filled with lifts, acrobatic tension, and contemporary movement.

My highlight of the night was watching the absolutely fierce Athena, played by Joey Arrigo. I was completely taken by their performance—celestial makeup, stunning acrobatics, and a grounded, commanding presence. I followed Athena through most of the evening and couldn’t look away. I also, of course, found myself trailing Medusa, played by Kelly Shaw—a performer that always impresses, but this role gave her even more space to showcase some intensity and great acting chops.

Throughout the night, I kept thinking about how incredibly challenging a show like this must be to choreograph and direct. With multiple characters moving through three floors at once—each locked into their own timelines, intersecting and diverging without pause—it’s a true feat of coordination and vision. Artistic Director and Choreographer Julia Cratchley makes it look easy and quite stunning, as the choreography is filled with lifts, tricks and lots of heart.

Compared to past works, OPHIS feels more pared back in its design. A Grimm Night, in particular, featured some truly elaborate sets, while this production leans more minimalist. It’s understandable—a show of this scale demands so much. Combined with a mythologically dense storyline that can be harder to follow, OPHIS wasn’t my personal favourite of the three. But that’s less a critique and more a reflection of how high the company has set the bar for itself, one few others in the city, if any, could even hope to meet.

Still, there’s nothing quite like a Transcen|Dance Project performance. If you’ve never experienced immersive dance theatre, OPHIS is a powerful entry point—a show that lets you walk through myth, witness transformation up close, and experience a story unfolding all around you. Get your tickets!

OPHIS, presented by TranscenDance project, is playing until April 13th, 2025 at The Great Hall (1087 Queen Street West Toronto, ON M6J 1H3). Tickets range from $60 - $165 and are available online here.

Disclaimers: wear comfortable shoes as you are not seated in the performance, there may be physical contact and interaction from performers, contact lenses are recommended (due to audience members wearing masquerade masks through the performance).

Photos by SV Photography.

For more information: www.transcendanceproject.com @transcendanceproject

Written by Deanne Kearney | DeanneKearney.com @deannekearney