“I think every parent is a warrior in their own way,” Rouleau says. “Every day, you’re fighting a new battle of being under the control of this tiny human who has needs and wants.”

Headlining the five show line-up is The Search Party’s Dance Nation (April 23–May 11, York Theatre). Directed by Mindy Parfitt, this performance is the Vancouver premiere of American playwright Clare Barron’s 2019 Pulitzer Prize finalist for drama.

Redefining motherhood

Rouleau and Hoffman created the LXDY PARTS series to explore women’s different roles in society. They had a show titled Boobs, focused on sexuality; another one titled Brains, discussed mental health. This upcoming performance is inspired by their transition into motherhood – a role that has forced Rouleau to let go of her ego.

“You have to surrender to this tiny human who just bosses you around and controls your whole life now,” she shares. “I think there’s something deeply absurd and funny about that.”

For Rouleau, parenthood has provided wisdom that amplifies her comedy. From being “covered in barf and poop and drool” to perceiving the world through her child’s eyes, the performer surrenders to parenthood’s hilarious absurdity. Underneath the humour, LXDY PARTS: BABES also exposes the difficult parts of motherhood.

“I think there’s a lot of truth in the show, and a lot of grounding in that,” Rouleau shares. “We also talk about the real loneliness of being a mom, the real isolation, the fact that your dynamic in the world has completely shifted.”

One of Rouleau’s favourite parts of the show is this vulnerability, as performers tell relevant personal stories in between sketches. Performers will be joined by special guests: Shizuka Kai (puppetry) Nyla Bedard (standup comedy) Marlene Swidzinski (standup comedy) RIOT! (sketch comedy) and Peach Cobbla & Spike Boy (drag parent and drag kid act).

Rouleau is also looking forward to bringing back her character – Rhonda – described as an optimistic, go-getter, jack-of-all-trades woman. She hopes the show brings laughter, comfort and relaxation, while rewriting the myth of mothers losing their sex appeal.

“I think there’s something so incredibly sexy and powerful about a mom that we really are trying to reclaim,” she adds. “And lift each other up and make each other feel like the babes that we are.”

The insanity of dance

A theatrical experience with energetic dance performances and dark comedy, Dance Nation follows competitive, pre-teen dancers in their plans for world domination. For choreographer Amber Barton, the decision to join Parfitt in the show’s Vancouver production was easy – it only took reading the first page of the script.

“I hadn’t even finished reading the rest of the script, and I was like ‘I’m in,’” she shares. “I’ve never been so moved to laughing out loud from just the description of characters; it just hit home.”

It’s no surprise that Dance Nation’s story resonated with Barton. A former competitive teen dancer, the choreographer recalls gruelling training sessions and intense pressure at competitions. The production has allowed her to revisit these memories, amplifying them to even greater extremes – an experience she describes as cathartic.

“Being able to laugh at it, like ‘yeah that was ridiculous,’” Barton shares. “We were 13 and working that hard and nobody stopped us.”

Her choreography approach is to put “ego to the side” in service of the playwright’s and director’s vision, while ensuring that actors feel comfortable. She sees Dance Nation’s exploration of power – including who holds power and how it can be used – as inherently universal.

“Even if you’re not a dancer, I feel like we all experience those kinds of elements within our lives, with our workplace competition, wanting to be recognized, wanting to be seen,” Barton adds, highlighting the themes of ambition and self-doubt.

For her, the play’s exploration of these themes is both humorous and entertaining, allowing for a reflection on the nature of performance itself. In line with the festival’s ethos, the choreographer recognizes dancers as warriors through their tenacity.

“There is something so very joyful about [dance] that overrides how hard it is at times,” she adds. “You’re sore, maybe you’re injured, you’re doing all this work, but then you’re on that stage, and …the joy can be felt.”

For more information, see https://thecultch.com/warrior-festival