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Continuing Education (2006)
A humorous romp through the classroom of a put-upon teacher and her unruly students, with projections by photographer Lydia Daniller and an original score by Jonathan Norton.
5 dancers / 20 minutes
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06 (2006)
06 is a dance theater piece created for the 100th anniversary of the great San Francisco earthquake and fire of 1906. It was created in collaboration with poet Judy Halebsky.
5 dancers / 15 minutes
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Intimate Details (2006)
Intimate Details delves into the chaotic relationships among four people as they struggle through a thorny emotional landscape. This evening-length piece combines works from the EmSpace repertory and several orignal dances. Four EmSpace Dancers were joined by 2 teenage and 2 adult community members.
8 performers / 55 minutes
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New Monster Avenue (2005)
New Monster Avenue treks deeper into the emotional landscape created in Songs For You by revealing the same characters at an earlier point in their lives. Featuring more music by The Mountain Goats, including a brand new song written for the piece, New Monster Avenue delves into the nuances of these intense characters and relationships.
6 dancers / 12 minutes
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How to See Red (2005)
An exploration of human brains and minds. How to See Red draws inspiration from the metaphors used by neuroscientists, meditators, and psychoactive drug users to grapple with the problem of consciousness. We evoke a stream-of-consciousness-like experience, pausing occasionally to consider the brain as a theater, the synchronized firing of neurons, and other mysteries of the mind. Collaborators include composer Jonathan Norton, video artist Aki Shinomiya, set designer Ernest Jolly, and scientist Matthew Baggott.
7 dancers / 30 minutes
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You and You and You (2005)
Developed in collaboration with DJ Aspect as a part of the Hybrid Project at Intersection for the Arts. The piece originated with ideas about neighborhood, maps, and territory, and became a dance about trying to build a safe space out of other people. You and You and You is a trio in which people's bodies become landscapes to explore and materials to manipulate. The movement is spare and sensual. The dancers initially move about like giants above a tiny city, crushing toy-sized cars underfoot and tracing skylines with their fingertips. But when they turn their attention to one another, their bodies and emotions become a tangle of desires, hostility, control, and momentary comforts.
3 dancers / 15 minutes
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Songs for You (2004)
A "dazzling ensemble work" (Dance View West) set to four songs by The Mountain Goats. Songs For You places six deeply flawed characters in a room and locks the door. Held hostage by an unseen — and possibly imagined — captor, the unfortunate characters find themselves in a situation that mirrors their mildly disastrous lives. Fragments of their stories and relationships are revealed through lush, detailed movement, as they fight and make up with equally wild abandon, struggle with strange compulsions, give in to despair, and - when there is a glimmer of hope - try to find a way out.
6 dancers / 12 minutes
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Suitable Beautiful Ducks (2003)
Inspired by nature documentaries, Swan Lake, and the story of the Ugly Duckling. This quirky modern fairytale is set to an eclectic score that combines bird calls, Tchaikowsky, texts by John James Audubon and Hans Christian Anderson, and Charles Amirkhanian's Dutiful Ducks.
6 dancers / 20 minutes
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Type/Set (2003)
An investigation of the formal similarities between dance and typography. Though they seem unrelated at first glance, the two disciplines are kindred spirits, both filling an empty space (the stage or the page) with certain elements and constraints. The movement and structure of this quintet is built on fundamentals common to both dance and typography, such as rhythm, proportion, and counterpoint, along with less obviously translatable typographic concerns such as margins, fonts, punctuation, and serifs. Choreography for Type/Set was created in collaboration with the dancers. The original score was composed by Christopher Keyes.
Robert Bringhurst's gorgeous book on the subject, The Elements of Typographic Style was a major inspiration for Type/Set. In the book, he writes "In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles."
5 dancers / 15 minutes
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My First Lady (2002)
A dance about the most demanding, unpaid, unelected job in America - the first ladyship. In this piece for four dancers, we look at the relationship between president and wife, and the conflicts that many first ladies have struggled with in reconciling their public and private roles. We try to make sense of the Clintons by imagining Hillary and Bill as Beauty and the Beast. We explore the ways in which the wives of presidents define their role, as prison or pulpit, opportunity or pain in the ass. The original score by Chris Froh is a collage of presidential speeches and backup singers.
4 dancers / 25 minutes
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Line Dry (2002)
A portrait of a small community in which everyone knows about everybody else's dirty laundry. Movement for Line Dry was created by the dancers around the ideas of gossip and covert relationships, and set against a background of traditional women's work. Line Dry is performed to music by San Francisco band Virginia Dare.
7 dancers / 12 minutes
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Between Floors #1 and #2 (2002)
The Between Floors series has begun with these two dances. In #1, a trio of very different women are trapped in an elevator. #2 (also in an elevator) is an encounter between a society matron and a raver chick.
3 dancers / 3 minutes and 2 dancers / 3 minutes
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Pop (2002)
This site-specific dance was created for the Yerba Buena Gardens Choreographers Festival. In it, ten dancers are sometimes kind and sometimes cruel as romp through the gardens with plastic flowers, a red wagon, and a bunch of balloons.
10 dancers / 20 minutes
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A Certain Age (2001)
A tightly choreographed dance about friendships of convenience in three different stages of life, from old rivals at the opera house, to a bridge club for bored housewives, to a gang of neighborhood kids on a snowy day. Set to the Double Concerto in D minor by J.S. Bach.
12 dancers / 15 minutes
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And Everything Nice (2000)
A dance about the intricate social lives of teenage girls. And Everything Nice uses costumes that literally bind the dancers to one another, making visible the social fabric that ties them together. Inspired by the unforgettable experience of high school, And Everything Nice reminds us of the perks and pains of being in the in-crowd, the joys of having a best friend, and the feeling of being on the outside looking in.
7 dancers / 20 minutes
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Seconds (2000)
A series of three duets portraying the interlocking relationships between four people, including a romantic relationship turned bitter, a supportive friendship, and a flirtation.
6 dancers / 14 minutes
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Photos by:
Unbound Photography (Songs for You)
Andy Mogg (How to See Red, You & You & You, Type/Set)
Matt Haber (My First Lady, A Certain Age)
Matthew Baggott (Pop)
Kate Albright (And Everything Nice, Seconds)
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