Repertory

  • Maggie Bennett
    • Approximation  A duet that investigates intimacy in regards to spacial proximity, revealing the life that emerges in companionship.  An original sound score echoes the play with space, evoking the subtle listening that is needed to interact with sources outside ones self.
    • Full Circle Romp  A group piece that celebrates, mourns, and earnestly faces the conundrum of endings.  Colorful and whimsical, the piece utilizes Maurice Sendak's Where the Wild Things Are, a handful of theatrical journeys, and full-bodied dancing to make peace with the life-long challenge of facing endings upon endings.
    • Motherland  A solo performance that tackles the choreographer's experience of patriotism, wrestling with the dual existence of opposite states that arise from her experience of being American: courage and cowardice, pride and shame, enthusiasm and disgust, elation and sorrow. Music by Roy Campbell.
    • Homeland  An epilogue to Motherland, Homeland takes on the project of setting up where one is within a framework that is contrary to one's nature.  Homeland was selected to be presented in Dance Theater Workshop's 2008 Fresh Tracks Program.
    • Reproach/Re-approach  A solo performance made in collaboration with a solo performance the choreographer's best friend gave a year ago in a North Hampton living room.  The project of trying to make a piece in collaboration with another piece embodies the content material for the solo: the ongoing project of trying, so cyclical and ever-present that it becomes the dominant experience. Music by John Jacob Niles.
  • Ani Javian
    • Ruling Worlds  explores women in leadership positions.  Stereotypical feminine qualities are exploited and countered in a physical and focused work. Piece for 5 women, approx. 10 minutes. Music by Penguin Café Orchestra.
    • Glue  Sounds reminiscent of childhood help explore how familial ties are cemented by proper nourishment and openness in Glue.  Allegiance and devotion resound throughout the dance which is presented in roughly eight distinct sections. Female quartet, approx. 10 minutes. Music by Fourtet.
    • Good Times, Great Hats  Familiar oldies music, sequined top hats, and platform benches guide dancers as they work together to hold on to memories.    Good Times, Great Hats is full of surprises, like remembering golden, familiar moments from a treasured past. Twelve dancers; approx. 10 minutes. Music by John Kander & Frank Ebb, The Teddy Bears, Johnny Tilliston, Don McLEan, and Little Ceasar and the Romans.
    • Sideways Grain  A formal portrait photograph of 6 six sisters lies within Sideways Grain.  Ideas of support, love and betrayal are evident as each dancer presents herself first as an individual and then as inherently committed to her family. Six women; approx. 9 minutes.  Music by J.S. Bach.
  • Amy Tennant Adams
    • This is your welcome.  This trio sincerely and lightheartedly explores individuality versus conformity- what it is really like to ‘fit in’, if there is such a thing.  The dancers move methodically in their own set paths and then converge to take notice of similarities and differences in each other. With a ‘big change,’ the dancers are able to share themselves and feel welcomed by the world around them.  Music by Zoe Keating, The Cadillacs, and the Vogues.
    • Leftover Right  What is it like to spend a day in someone else’s shoes?  Dancers swipe, duck, hop, sweep, and dive both riskily and playfully in space to lazy strings and a sing-song oldies tune.  Music by Edgar Meyer and Buddy Holly.
    • New York City  The bustling continues on, both forward and backward, as a pedestrian dancer works her way through the crowd and around the town, finding movement freedom in a congested city.  Dance film in collaboration with Diegonante, German filmmaker.
    • Pause and Effect  The many aspects and stages of the development of self are investigated in this piece for twelve women.  Self origin, retrospection, and expression are discovered as personal battles are won, individuality is revealed, and gratification is realized.
  • Cara Liguori
    • Contretemps  Ensemble work for four women and one pedestrian man.  An ill-timed romantic interlude interrupts this lyrical reverie. Music by Lila Downs and Arvo Pärt.
    • Surrendering Pieces  Ensemble work for 11 dancers. A turbulent exploration of the various aspects involved in the construction and recollection of self-defining memories.
    • Crash Course  A soulful man/woman duet that examines the relationship between a woman’s early sexual experience and self-love.  Music, Aretha Franklin.
    • Goddess Worship  This dance is an attempt to accept and embrace talent, aptitude, strength, and ferocious ambition. It is an examination of star quality; a tribute to the female icon and woman herself. Music by Erykah Badu, Etta James, gypsy.cz, and John Legend. Ensemble work for five female dancers.
  • Betsy Miller
    • Night Passage  Solo dance about grief and transcendence, and the places between. Music by Phillip Glass.
    • Dominion  Ensemble work for 6 dancers. Music by Johann Strauss, Jr. A satirical look at corporate culture. Aggression, arrogance and greed play themselves out in a white-collar assault on the human spirit as one individual bravely tries to break the stranglehold of conformity.
    • Is  Comedic solo set to Peggy Lee’s “Is That All There Is?”.
    • And is it fun changing?   A collaborative improvisational duet that plays with the idea of change with condensed shifts in energy states, location in space, and costumes.  Music by Frank Pahl and Klimperi.
    • Feo, Fuerte, Formal  Female quartet. A kinesthetic inquiry into popular perceptions of women. A physical and dramatic work, combining explosive dance and detailed gesture. Music by Elliot Goldenthal and Tomas Mendez.
    • underglimmer  Whimsical and abstract ensemble work for 9 dancers.   Music by Richard Robbins.
    • The Leaves are Fading, Losing Poems  Female quintet about remembrance. Music by Phillip Glass.