“I became very aware of my age, and at that time, I was in my late 30s,” says the creator who has always loved to dance. “I was quite interested in the fact that I’m not a professional dancer, but I still loved to dance…this idea of should I be dancing? Why do I dance?”

That moment led to the creation of Danceboy – an unconventional performance blending shadow puppetry, poetry, live DJ sets and dance into what Sharma calls “a huge party.” The show runs March 19 to 22 at The Vine’s Den (825 E Hastings Street).

Layers of a “sensitive boy”

Danceboy sheds the constraints of a traditional theater space. Sharma and director Gavan Cheema envisioned the project more as an immersive “art installation” than a static play. The production features multiple collaborations – including Ruby Singh’s soundscape, Sandeep Johal’s visual art (which is projected) and Victoria Bell’s lighting design.

“I enjoy the idea of giving people a multitude of things to enjoy, almost like a buffet,” Sharma adds.

He says that Danceboy is autobiographical – presenting moments of his life from 1983 to 2026. Jumping forwards and backwards in time, the show traces his growth from a “sensitive boy” into a middle-aged man refusing to let go of what makes him feel most like himself.

“The heart of the piece is about a boy who loves to dance,” Sharma explains. “The other part is transformation and growth – I’m not the version I was before.”

Danceboy also touches on Bollywood romances – films the creator grew up watching. For young Sharma, these films were an entry point into his South Asian heritage.

The creator recognizes that everybody “has layers” to their identity, including those associated with their background, language and sexual orientation. Sharma adds that, a person’s previous selves also create layers – a lived experience that Danceboy portrays.

“My personal growth with this piece is more non-linear, abstract, little bit absurd at times,” he says of his desire to move away from providing “a solitary narrative.” “The challenge was to be like, ‘I’m going to basically break myself into different pieces [and] share different stories – they are all the same person.”

From installation to invitation

The show also explores ideas of masculinity – particularly societal labels of men, such as “manchild.”

“What does it mean to be vulnerable – as a man, [as] a sensitive boy?” Sharma reflects. “Breaking myself into these pieces and showing a transformation or growth as a person is important to [show], ‘This is maybe who I was, but it’s not who I am now.’”

The point, for Sharma, is to highlight an individual’s “growth and change” – particularly in a society where one may be heavily judged for their mistakes. The show begins with Sharma’s performance; it is then followed by a high-energy dance party.

“I want to make sure that you’re actually enjoying something that kind of speaks to you, or there’s an experience or an event that allows you to feel like, ‘Oh, I did something today,’” he adds.

For Sharma, the show’s two parts “work together as one” with the first half also offering opportunities to dance. He encourages the audience to feel as though they are part of the show.

“I’m going to do my very best with every ounce of my body to make sure that I’m doing what I can to have a great time with everybody there,” he explains. “Even though the story might start very individually, it is about community and coming together and sharing what you love.”

This emphasis on community is what Sharma hopes will resonate most with Vancouverites. He believes the work will appeal to those wanting to dance, party or have fun – as well as those interested in art that is “a little unique” or “off the beaten path” – amongst others.

“As somebody who is now a middle-aged man and still, for fun, breaks out and dances every day, society says a whole bunch of things to me,” he concludes. “But it’s who I am, it’s part of what makes me, me – whether I do it good or bad, or for 100 people or for just God – you can’t stop doing the thing that makes you.”

A Theatre Conspiracy production, Danceboy is co-presented by Pi Theatre and Touchstone Theatre. Attendees can expect to move with Sharma during the performance; those who require accommodations are welcomed to contact Pi Theatre’s operations manager.

For more information on Munish Sharma, see www.munisharma.com

For more information on Danceboy, see www.pitheatre.com/shows/danceboy