Department of Theatre, Drama, and Contemporary Dance

Choreography by Bill T. Jones
Music by Felix Mendelssohn, “Octet for Strings in E-Flat Major, Op. 20,” (1825)
Lighting by Robert Wierzel
Costumes by Liz Prince
Staged by I-Ling Liu
Rehearsal Direction by Stephanie Nugent
Presented under license from New York Live Arts
D-Man in the Waters is dedicated to Demian Acquavella

D-Man in the Waters captures the infectious energy, innocence and will to survive of a beleaguered generation, and though it deals with sorrow, it maintains a defiantly celebratory tone. Jones has said that the fact that Mendelssohn was just 16 years old when he composed Octet for Strings resonated strongly with him. “This work was for us a way of dealing with grief, by finding the joy in the music this 16-year-old boy created.”

Dancers:

Friday evening and Saturday matinee: Alyssa Athens, Gracie Black, Diamond Burdine, Savannah Lucas, Jaylen Man, Sydney Poteet, Jaylen Ray, Kelsey Smock and Elise Young

Saturday evening and Sunday matinee: Cameron Barnett, Veronica Bone, Marina Bradley, Diamond Burdine, Krista Gottwald, Amanda Hoover, Morgan Johnson, Jaylen Man, and Jaylen Ray

Choreography by Selene Carter
Sound Engineering by
Lighting by Meghan Branham
Costumes by Stephanie Orr

The Gorgeous Nothings is a structured improvisation, a dance that set choreography can never deliver. Featuring inveterate dance improvisers at the height of their powers, forms emerge, and ideas embellish and unfold, revealing the performers thinking and making in the moment. Carter drew from the book, also titled "The Gorgeous Nothings", about the archival discovery of the writing process of poet, Emily Dickenson. She wrote drafts of her poems on re-purposed envelopes from letters she received. Slitting the paper open, and creasing new margins, her words and images fitting the confines of the paper. We explored enveloping, correspondence, and how found spaces, and limited boundaries alter and define ideas in startling syntax.

Dancers: Leslie Dworkin, Suzanne Lappas, and Kora Radella

Choreography by Nyama McCarthy-Brown
Narration by Elizabeth James as Mami Wata
Sound Engineering by Andrew Hopson
Lighting by Qi’er Luo
Projections by Jennie Fischer
Costumes by Linda Pisano

Mami Wata, a powerful water spirit, shares a modern day pataki (tale) of the Orisha, Oshun, the guardian of all fresh waters who embodies sensu- ality and love. Upon  nding our fresh waters poisoned by toxic materials, Oshun sets out to heal them. On her quest, she seeks assistance from a number of other Orishas (spirits) like herself.

Dancers: Helen Berger, Marina Bradley, Madison Davis, Morgan Johnson, Kathryn Lea, Savannah Lucas, Celine Oberholzer, Julia Palmer, and Margaret Wolfe

Choreography by Stephanie Nugent
Music by Nadia Sirota, “Live Water;” Meredith Monk (featuring Sakamo- to Remix), “Astronaut Anthem;” Guillaume de Machaut (c. 1300-1377), performed by Jackson Hill, New York Polyphony, “Ma Fin Est Mon Com- mencement (My End is My Beginning)”
Sound Engineering by Stephanie Nugent
Lighting by Naomi Gold
Costumes by Kayla Cieslinski

Dancers: Caitlyn Brady, Diamond Burdine, Julia Dorf, Krista Gottwold, Amanda Hoover, Kathryn Lea, Jaylen Man, Fiona Schlegal, and Elise Young Understudies: Kelsey Smock and Erin Stewart

“Light and shade both play their part in revelation of realities; and while most men and women steadfastly suppose that only the light of success is needful to uncover the beautiful truth of them, it may be that they are mistaken and the shadow of failure would better do so.” - Eden Phillpotts

Choreography by Stefanie Batten Bland
Music by Paul Damian Hogan III
Lighting by Darrian Brimberry
Wearable Art by Buffy Price
Rehearsal Direction by Stephanie Nugent

Contributing Dance Artists, Friday evening and Saturday matinee: Madison Davis, Emma DeLillo, Julia Dorf, Maggie Hunter, Emily Kirchhoff, Megan Kuhdla, Katie Lea, Claire Liechty, Céline Oberholzer, Julianne Rice, Fiona Schlegel, Olivia Tokarski, and Elaina Welch.

Contributing Dance Artists, Saturday evening and Sunday matinee: Victoria Antonini, Helen Berger, Ella Berry, Caitlyn Brady, Maddy Grande, Emily Kirchhoff, Madison McCarthy, Julia Palmer, Angie Pan, Nathalie Plum, Anna Rice, Olivia Tokarski, and Margaret Wolfe.

Germe is an experience that redefines borders. It is the seed of an idea, the beginning of possibilities. Germe takes place in the moment before definition takes hold. In either an installation durational performance over time or in a theatre, it is the meeting place of art, science, and social constructs, Germe allows an intimate experience with the tendrils of an organism growing viral, in search of more...

Choreography by Stafford C. Berry, Jr.
Music by Musiq Soulchild, “Halfcrazy”
Lighting by Naomi Gold
Costumes by Stafford C. Berry, Jr.

Dancers: Gracie Black, Veronica Bone, Kelvin Burzon, Krista Gottwald, Ryan Malone, Angie Pan, and Jaylen Ray

for Ric

Choreography by Elizabeth Shea
Music by John Adams, “Light Over Water: Part 1” and “Light Over Water: Part III”
Sound Editing by Elizabeth Shea
Lighting by Tony Stoeri
Costumes by Elizabeth Anne Davis

Dancers: Helen Berger, Gracie Black, Veronica Bone, Diamond Burdine, Madison Davis, Emma DeLillo, Julia Dorf, Morgan Johnson, Jaylen Man, Julianne Rice, Elaina Welch, and Maggie Wolfe.

Rehearsal Assistant and Understudy: Meredith Johnson

Hot Dust (obscured galaxies) began as an exploration of textured movement investigation and invention. The work quickly took on deeper meanings of birth, life, death; the infinite state of the universe. The dancers take the viewer on a journey through the time and space, exploring new realities as the landscape morphs and shifts, and in the final moments, discover profound joy through being.