A show of firsts, Radio Play takes a unique look at the realm of performance, combining the strengths of cultivated dance artists Denise Clarke and Peggy Baker (in their very first joint project) with, as Baker puts it, “the acting finesse” of Michael Healey. This latest Peggy Baker Dance Project tells the story of finding romance in the office, touching on feelings of misunderstanding, self-expression and the inexplicable need to fit in. This meeting of theatre and dance elements is novel to Baker. “I’ve spoken onstage before in my work,” she says. “I guess most of my text has been autobiographical — and that’s usually the way it is in dance, at least in contemporary dance. This is the first time I’m portraying a character that isn’t myself.”

What is the story of Radio Play?
It’s the story of a middle-aged modern dancer, a former modern dancer, who is thrown into the workforce. She’s applying for what I call a “real job,” a 9-to-5 job. So the story takes place between this character, whose name is Marnie Taylor, and a human-resources person at a big office, Angus Portland, who is played by Michael Healey.

Is the story conveyed solely through movement?
Well, there is a very complex and beautiful soundtrack that goes with the whole thing that includes foley sound effects and music. There’s also a lot of text. My character delivers a lot of her inner thoughts directly to the audience, and those are all [done] live. Near the end of the play both of the characters are speaking live and there’s really stylized movement and choreography throughout the whole thing as well.

The show has been described as absurdist and surrealistic. Why do you think that is?
There’s very little realistic movement — it’s all extremely stylized. We’re moving in ways that people honestly don’t move. You know how in a regular musical people are acting, then break into a song-and-dance number and then go back to their acting again? Well, we basically keep behaving the same way you would in a song and dance number, all the way through.

The show was originally created for you and Larry Hahn but due to an injury he was unable to perform. What was the search for a replacement like?
Well, Larry is a dancer, so when I started to look for someone to do this with me, I decided that I actually wanted an actor for a couple of reasons. I think the acting side of it is extremely challenging — not that the choreography isn’t, but the character of Angus is supposed to be a non-dancer anyway. [I needed] someone who would be able to handle all the character stuff really well but is an actor who is crazy enough to learn a play where all the movements are choreographed. I also thought that it would be really exciting for me, and a great stimulus for my artistic development inside the piece, to be working with an actor and not a dancer because actors look at things from a completely different point of view. It’s been incredible working with [Michael].

And this is your second time?
Yes, the time before we were doing an event at Theatre Passe Murraille called Blind Date which I was actually supposed to be performing with Layne Coleman, who was the artistic director of Passe Murraille at the time, but circumstances conspired such that after we’d made the plans Layne couldn’t do the show. I found out the day of the performance that he was [either] going to have to cancel it, or he said he could recommend someone who would have the guts to jump into it — since we would be improvising anyway. So I thought, since it’s called Blind Date, why don’t we meet for the first time in front of the audience and do the whole thing entirely transparently? It was completely wonderful and exciting and we loved what happened. Ever since Michael and I have always wanted to do something together again. Earlier this year we did start working on something but it’s not going to take place for another year or so. When I needed an actor for Radio Play, I was like, “Oh my God, it would be great for Michael and I to do this together.” So we are.

Overall, how would you consider your Radio Play experience different, this time around?
I think Larry and I were more stylized — that’s more what dance is like. Michael has brought a lot more finesse and subtlety to the theatre elements. So he’s been taking me along in that direction. It’s been quite different getting ready with Michael. He and I are each very much known to our individual audiences so I think it would be super fun for people to see us on stage together.