Montréal
“I don’t know much about dance, but I know enough to say that this was a breathtaking performance. Alexander and Erin are both wildly talented, and the chemistry they share on stage is incredible to witness. Their bodies move fluidly together, becoming one; when they dance, it is hard to tell where Alexander ends and where Erin begins, and vice versa. Their synchronized and laser-precise footwork is mesmerizing, and I was absolutely blown away by their ability to stay upright rather than tripping over each other’s legs. I cannot count the number of times I whispered an awed “oh” or “wow” from my seat.
I absolutely loved the costuming. Erin’s array of outfits–from a sparkly black gown to a silk slip and cascading white frock–fit each corresponding choreography perfectly. Likewise, Alexander’s own outfits were smart and refined, lending well to the overall elegance of the performance.
My favourite choreography has to be their piece accompanied by Erik Satie’s Gymnopédie 1; this stunning number is intimately romantic, and uses a glowing inflatable ball to represent a shooting star. The two dancers hold the star between their chests, moving with featherlight grace yet with enough strength and precision to keep it from falling.
Tango After Midnight is a romantic, classy, and impressive display of talent. Alexander is a very talented performer and choreographer, and Erin is just an absolute delight to watch, with her playful, cheeky expressions and strong, deft movements. This is the perfect show to add to your Fringe watchlist, offering a getaway to the streets of Buenos Aires that you’re sure to enjoy.” -Candice Ann (Forget the Box – Montreal)
Toronto
NEXT Magazine 5-N RAVE REVIEW!
Fringe Review: The passion and precision of ‘Tango After Midnight’ will knock your shoes off
A dazzling fusion of ballet, tango and theatrical storytelling
BY HAFSA HOOSANEY // JULY 12, 2026
What: Tango After Midnight
Where: Tarragon Theatre, 30 Bridgeman Ave.
When: Now, until Sat., July 11
Highlight: Striking, highly controlled lifts
Rating: NNNNN (out of 5)
Why you should go: Jazz-age Paris meets Buenos Aires’s flamboyancy
From glitz with glam to a Cinderella-esque Clair de Lune number, Tango After Midnight (created by PointeTango Dance Company) is a sublime experience that envelops its audience so completely. From the dancers (Erin Scott-Kafadar and Alexander Richardson) moving around each other like water to the extraordinary physical precision employed, my eyes could not leave their silhouettes. With the aid of a projector screen, the dancers tell their love story via interludes of on-screen and off-screen spectacle.
Scott-Kafadar takes us on a mesmeric journey, dancing in ballet flats to heels to bare feet without breaking the spell. Holding lanterns to represent the moon, both performers combine lifts with polished, exquisite off-the-ground poses. You can feel the love for the movements in every flicker and grasp one has on the other — from Scott-Kafadar’s elegance to Richardson’s security of hold and counterbalance. Having resided in Buenos Aires, appreciating and learning the culture of the tango, their passion translates into a whirlwind of hypnosis and excellence.
The takeaway of this masterful show, from these dancers who truly embody art in its richest form, is that in the darkest of night, the light we find is each other. How Scott-Kafadar and Richardson hold each other within the tango is how we all should hold onto what or who we love — relentlessly, fearlessly and with two feet in, regardless of the shoe.
Winnipeg
CTV News Live
CTV’s Ainsley McPhail chats with dancers, Erin Scott-Kafadar and Alexander Richardson ahead of Fringe
The Winnipeg Free Press
PointeTango
John Hirsch Mainstage (Venue 1), to Saturday
👾👾👾👾
Montreal and Buenos Aires-based Alexander Richardson and Erin Scott-Kafadar are back with a 55-minute performance that blends ballet, Argentine tango and video projections.
While many fringe shows proudly and intentionally leave seams unfinished, PointeTango presents a glossy, slick package. And the audience loved it, cheering enthusiastically at every luscious video break.
Those pauses not only allowed them to change into glittery or sleek new outfits, but also provided the story. As the lovers tour Buenos Aires, he gifts her a pair of pointe shoes. But a transportation mishap necessitates a hybrid of even fancier footwork.
The transitions also created screen-to-stage magic that provoked gasps in the nearly full house.
The show is a finely tuned machine of dance, athleticism and storytelling.
And although they make it look easy, Richardson clarified, after the roaring ovation died down, that, “It took us two years to develop this,” and boasted that Scott-Kafadar is the only woman to perform tango on pointe.
— Denise Duguay
The Jenny Revue
Tango After Midnight
PointeTango—John Hirsch Mainstage
” This isn’t a couple of dancers rehearsing out of a basement or a rented, dingy hall. This is a big production, and a big production company—perhaps much bigger than the Fringe stage. As such, you expect it to be highly polished, highly professional, and perfect in every way—and it is.
As for the show, the movement, the music and the dancers exude sensual, sultry and sexy strides, as they glide effortlessly across the stage. The opening number highlights the ballet aspect of the show (afterwards, I heard rumbles among the audience who were surprised at the prominence of ballet moves; “pointe” refers to the ballet step, specifically going on toe).
The second number features more of a traditional tango sequence. The following songs provide a potpourri of numbers, including a showtune, Latinx folk, contemporary and classical. A fun, whimsical mini-plot on the screen provides some background and a great distraction while the dancers change.
It’s a beautiful performance—and I’ll reiterate—one that’s befitting a much larger stage than just a Fringe venue. You’re getting much more value than your $14 (or $10 ticket). “
–Ray Yuen
Saskatoon
The Saskatoon StarPhoenix FRONT PAGE
North Sask Music Zine
Tango After Midnight (Broadway Theatre)
Tango After Midnight, presented by PointeTango Dance Company and directed and choreographed by Alexander Richardson, was probably one of the more visually interesting productions I saw.
The show combines ballet and tango with contemporary dance happening live whist in between those performances thematic films projected on a screen. It sounds like it could become a bit of a mishmash, but it actually worked remarkably well.
Erin Scott-Kafadar was particularly graceful throughout. One of the coolest visual elements was the way she moved between the worlds of ballet and tango. At different points she wore pointe shoes, tango shoes and, at one point, one of each. It became almost a physical representation of the two dance forms coming together. Richardson was equally impressive, displaying both strength and grace as he guided Scott-Kafadar through a series of throws and lifts.
The films were also a nice touch. They helped establish the themes of the show while giving the dancers an opportunity to make costume changes. It was a great hour of dancing. And the hour time was a perfect fit for what was presented.
PointeTango Dance Company 