I quit dance, in part, because I felt I was pandering to the audience; the shows I performed in didn’t have a message I wanted to share. But the Choreographic Shindig IV helped me see that there are shows that can appeal to both the dancer and the audience.
In Stephanie Knows Some Great People, all of the production elements meld seamlessly to create an entirely encapsulated world, the choreography emerging as an organic expression of character, rather than an abstraction of thematic ideas. Duggan’s vision premiered in an already-mature composition, one I’d beg to see again as a full-length work.
The inventive choreography was smoothly executed and enthralling to watch.
The narrative piece combined acting and dancing in a way that is connected to popular trend of immersive theater. And just one picnic table away was a real-life father setting up a birthday party for his four-year-old.
Above all, we believe in the accessibility of our work and the crossover from dance to other art forms. Hoover Dam Collective offers us a comfortable and fun environment to show work that we believe in and interact with ambitious artists that we wouldn’t normally encounter.
A Rib Where Her Voice Had Been brought some satisfying, downtown strangeness to this uptown theater. LoudHoundMovement, put [dancers] through a series of odd encounters and movements that added up to endearing and clever.