eiSenhower dance | 2013-2014 Press Kit

For Booking, pLease contact:JoDie ranDoLph, Company Manager: randolph@eisenhowerdance.org • (248) 559-2095

artistic personneLLaurie eisenhower, Artistic Director: eisenhower@eisenhowerdance.org

stephanie pizzo, Associate Artistic Director: pizzo@eisenhowerdance.org

aDministratiVe personneLDana giLL, Executive Director: gill@eisenhowerdance.org

nataLie Bruno, Vice President for Development: bruno@eisenhowerdance.org

margo streBig, Director of Communications: strebig@eisenhowerdance.org

JiLL oVeracker, Public Relations & Marketing Associate: overacker@eisenhowerdance.org

meDia inquiriesJiLL oVeracker, Public Relations & Marketing Associate: overacker@eisenhowerdance.org

Send contracts, correspondence and payments to:

Jodie Randolph, Company ManagerEisenhower Dance 24901 Northwestern Highway, Suite 312 Southfield, MI 48075

phone: 248-559-2095

Fax: 248-559-2098

contact

Eisenhower Dance, Michigan’s premier contemporary dance company, embarks on its twenty-third professional season this year. Since its 1991 founding by Artistic Director Laurie Eisenhower, the company has been dedicated to the performance of a diverse range of contemporary dance works. Along with Ms. Eisenhower’s highly acclaimed choreography, the company showcases the works of internationally known choreographers, as well as emerging artists. The company has boasted works by significant choreographers including: David Parsons, Lar Lubovitch, Ron de Jesus, Lauren Edson, Harrison McEldowney, Michael Foley, Kiesha Lalama-White, Joel Hall, David Dorfman, and Louis Falco among many others.

Eisenhower Dance has produced several touring productions. These include: Motown in Motion, a salute to the tunes that made Motown Records famous; Igor Stravinsky’s A Soldier’s Tale with Detroit Chamber Winds & Strings as part of the Great Lakes Chamber Music Festival; and Laugh Tracks, an evening of comedy in dance. The company’s newest touring production is titled The Light Show and pairs four choreographers with four lighting designers to create a visually stunning dance event.

Considered by many critics to be one of the finest contemporary dance companies in the nation, Eisenhower Dance has received overwhelming critical acclaim along with enthusiastic audience support: “stunning” (Gloria Shay, Holland Sentinel), “intelligently crafted repertoire” (Susan Isaacs-Nisbett, Dance Magazine), “dance that touches the soul” (Susan Hall-Balduf, Detroit Free Press), “an eye-popping production” (David Lyman, Detroit Free Press), “a hearty, no-nonsense way of moving” (Jack Anderson, The New York Times), and “a hand-clapping delight” (Chicago Tribune).

The company’s performance schedule has taken it on tours across the United States and as far as St. Petersburg, Russia. In 2014 the company will once again travel to Europe as the featured professional company from the United States at the Lądek-Zdrój International Dance Festival in Poland.

In 2003, Ms. Eisenhower received the prestigious Artserve Michigan Governor’s Award for Arts and Culture – Michigan Artist and, in 2012, was named a Kresge Performing Arts Fellow for her work in bringing great dance to Detroit.

company hiStory

preSS releaSe information

Praised by critics as one of the nation’s premier contemporary dance companies, Eisenhower Dance has received overwhelming critical acclaim along with enthusiastic audience support: “stunning” (Gloria Shay, Holland Sentinel), “a hand-clapping delight” (Sid Smith, Chicago Tribune), “dance that touches the soul” (Susan Hall-Balduf, Detroit Free Press), “an eye-popping production” (David Lyman, Detroit Free Press), and “a hearty, no-nonsense way of moving (Jack Anderson, The New York Times). The company’s concert schedule has taken it on tours across the United States and as far as St. Petersburg, Russia. The company has received numerous grants and awards for its work including support from the National Endowment for the Arts, the Kresge Foundation, the Community Foundation for Southeast Michigan, the Michigan Council for Arts and Cultural Affairs, the Knight Foundation, the National Dance Project and many others. For more information about Eisenhower Dance, please visit www.eisenhowerdance.org or call the Eisenhower Dance offices at 248-559-2095.

programS offeredthe Light show

Eisenhower Dance’s newest creation, The Light Show, is a visually stunning presentation of dance that cleverly pairs four choreographers with four lighting designers. The result is an evening of breathtaking imagery and movement that reflects on life and human relationships. The enchanting and exhilarating program includes an audience participation component as well as a lobby “lighting fair!”

Approximately 1 ¾ hours in length with intermission. Available for touring in November 2014.

programS offeredreD, hot anD BLue

Dramatic. Striking. Awe-Inspiring. Eisenhower Dances’s newest mixed repertory program Red, Hot and Blue is a stunning collection of repertory by nationally-recognized choreographers that have set new works on the versatile Eisenhower Dancers. The program includes works by the renowned choreographers Ron de Jesus, Lauren Edson and artistic director Laurie Eisenhower, among others. Consequently, this program expresses a diverse range of artistic viewpoints from virtuosic movement pieces to innovative comedy and soulful introspection. Age-appropriate programming and repertory selections can be designed for particular audiences.

Approximately 1 3/4 hours in length with intermission. Available for touring in Fall 2013.

motown in motion

The Motor City’s premier dance company celebrates the music that made Motown famous in arazzle-dazzle evening of dance and music! Playful, humorous, and wonderfully theatrical, theperformers will have you dancing in your seats – and out into the streets! This visual salute includes dance vignettes performed by Eisenhower Dance to recordings from top Motown artists including: the Temptations, Marvin Gaye, Gladys Knight, Smokey Robinson, Michael Jackson, the Supremes, and Stevie Wonder, among others. The dance vignettes for Motown in Motion were created by an impressive roster of nationally and internationally respected choreographers, including Joel Hall, Stephanie Pizzo, Gregory Patterson, and Artistic Director Laurie Eisenhower. Motown in Motion is designed to appeal to a diverse audience of all ages, Motown fans and dance aficionados alike. It presents an entertaining look at Motown, a distinctly American artistic and cultural legacy.

Approximately 1 ¾ hours in length with intermission. Always available for touring.

kiDs in motion assemBLy program Eisenhower Dance presents an exciting, athletic, and educational dance presentation where students learn about the dance profession and choreography, including the different styles of dance, why people dance, the elements of choreography, and the lifestyle of a dancer.

mini motown in motion assemBLy program Specially designed for schoolchildren, this scaled-down version of Eisenhower Dance’s lavish production, Motown in Motion, is a fast-paced and lively presentation.

heaLthy kiDs resiDency Eisenhower Dance has created an outstanding educational program addressing childhood obesity. Through lecture demonstrations, movement activities, family fun nights and performances, “Healthy Kids” inspires children to make healthy lifestyle choices. “Heathy Kids” was created in collaboration with Beaumont Hospitals and with a grant from the NEA.

speciaLLy DesigneD eDucationaL resiDencies Eisenhower Dance can design residencies lasting one to six weeks that meet the curricular or arts education needs of your school. Residencies can include creative dance workshops, lecture demonstrations, master classes, performances, and classroom visitations for participation and discussion.

choreographic resiDenciesArtistic Director Laurie Eisenhower accepts commissions to set her choreography on other companies or pre-professional dance programs. Programs can be designed to allow student companies to perform Ms. Eisenhower’s choreography as part of a collaborative performance with Eisenhower Dance.

perFormance opportunities For community DancersEisenhower Dance will send dancers in advance of a performance to teach local dancers a work they can then perform in the concert with Eisenhower Dance.

creatiVe moVement workshopOne of Eisenhower Dance’s most popular activities, the Creative Movement Workshop focuses on teaching the basic elements of dance (shape, level, direction, speed) while at the same time providing activities that develop team building, confidence, discipline, problem solving, creativity and cooperation skills.

master cLassesEisenhower dancers are qualified instructors. They are available to teach all levels of technique (i.e. ballet, modern, jazz) and choreography classes. Company members have received pedagogy training in order to conduct a well-structured master class with age and level appropriate instruction.

For more information on these programs, contact JoDie ranDoLph, Company Manager at randolph@eisenhowerdance.org.

education & outreach

Laurie eisenhower, Eisenhower Dance Artistic Director, received her BAE and MFA degrees in dance from Arizona State University where she received the Wanda Turk Choreography Award and the Faculty Excellence Award. In the early years of her career, she danced professionally in both California and New York City with various dance companies and choreographers, most notably, Pilobolus Dance Theatre, David Parsons, Chen and Dancers, Harry Streep III, and Mel Wong.

Ms. Eisenhower began her professional choreographic career when she set a work for the Prospect Park Dance Festival in Brooklyn, NY. Since then, she has set her works on numerous professional and university dance companies including BalletMet Columbus, Desert Dance Theatre, State Street Ballet and Harbinger Dance Company, to name a few.

In 1991, she formed Eisenhower Dance, which, with the help of committed and talented dancers, has become the premier dance company in the state of Michigan. Since the founding of the company, Eisenhower Dance has grown from a small ensemble of four dancers on a pay-per-performance basis to the current company with an extensive schedule of rehearsals, performances and touring. The company has traveled as far as St. Petersburg, Russia, tours nationally, and is now in the midst of its 23rd season.

Ms. Eisenhower has created over 100 dances for Eisenhower Dance and has received frequent grants and honors for her choreography. She has been awarded several Creative Artists grants from state arts foundations, the Michigan Dance Association Choreographers Festival Award, the Women in Art Award for Choreography, Artserve’s Michigan Governor’s Arts Award for Outstanding Michigan Artist and, most recently, the prestigious 2012 Kresge Artist Fellowship. Her work has also been supported through grants from the National Endowment for the Arts, the Community Foundation for Southeast Michigan, the Skillman Foundation, the Kresge Foundation, the National Dance Project, and the Michigan Council for Arts and Cultural Affairs.

Ms. Eisenhower is also well known for her teaching and is a former Dance Program Director and Professor of Dance at Oakland University in Rochester, Michigan. At OU, she was awarded a Travis Professorship and was honored twice by the OU Board of Trustees. She also received an OU Research Fellowship, 25 faculty research grants, and the Faculty Recognition Award for her outstanding contributions in the field of dance. In 2012, she was appointed the status of Professor Emerita.

stephanie pizzo, Eisenhower Dance Associate Artistic Director, is a native of Clinton Township, Michigan where she began her training with Orchid Diane and Denise Boucke and continued on with Evelyn Kreason. She danced with the Michigan Ballet Theatre, Oakland Dance Theater and Harbinger Dance Company. She has a Bachelor of Arts with an emphasis in Dance from Oakland University. As a student, she received the Jacob S. Decker Award for Outstanding Achievement in Dance and a scholarship from the American College Dance Festival to study with the Ririe Woodbury Dance Company in Utah. In 2009, she received a Distinguished Alumni or “MaTilDa” award from the Department of Music, Theatre and Dance at Oakland University. As a founding member of Eisenhower Dance, Ms. Pizzo currently teaches company class, rehearses the company, and choreographs. She has staged works by Laurie Eisenhower on numerous companies and universities including Desert Dance Theatre, Scottsdale Community College, Collin County Community College and Alma College. She has set her own choreography at Illinois Wesleyan University and numerous works on Eisenhower Dance. Ms. Pizzo is a special lecturer in dance at Oakland University and also enjoys teaching ballet at the Detroit Skating Club to National and International Competitive Figure Skaters.

the company

aLicia cutaia, Rehearsal Director, earned her BFA with honors from Point Park University with a double major in Ballet and Jazz. Her previous training includes scholarships at Hubbard Street, North Carolina Dance Theater, and River North. She has performed works by many renowned choreographers including Lar Lubovitch, Louis Falco, Michael Foley, Keisha Lalama-White, Joel Hall, Lou Conte, Daniel Ezralow, Choo-San Goh, Harrison McEldowney, Kevin O’Day, and Margo Sappington. Ms. Cutaia previously danced with Hubbard Street II and Giordano Jazz Dance Chicago. Her choreography has been showcased at the Jazz Dance World Congress, Maggie Allesee New Choreography Award, Dance Chicago, the NSAL Mid-Michigan Chapter, Eisenhower Dance, and many others. Ms. Cutaia’s teaching credits include the Lou Conte Dance Studio, Oakland University, ABT Summer Intensive, Dance Harlem Summer Intensive, and the Eisenhower Dance Centers.

anDrew criBBett, originally from Thomasboro, Illinois, began his dance training at the age of six. He trained with Christine Rich and Luciana Rezende at the Christine Rich Studio Dance Academy and Performing Arts Center in Savoy, Illinois. He also guest starred in Champaign-Urbana Ballet productions. At the age of 16, Mr. Cribbett received a full scholarship to The Washington School of Ballet in D.C. to further his training while attending Duke Ellington School of the Arts to finish his senior year of High School. Mr. Cribbett has received scholarships to attend summer intensives at Washington School of Ballet, Hubbard Street Dance Chicago, The Rock School of Ballet in Philadelphia, and Faubourg Ballet Chicago.

thomas Fant began his formal dance training at the age of fifteen under the direction of Deborah Thorpe and Todd Rosenlieb at The Governor’s School for the Arts in Norfolk, Virginia, where he studied with Lorraine Graves, Ricardo Meléndez, and Joni Petre-Scholz. He has danced the works of Ron De Jesus, Bill Evans, Erick Hawkins, Jerome Robbins and Stephanie Pizzo. When not performing and touring with Eisenhower Dance, he teaches Xtend Barre and is working toward his full Stott Pilates certification at Equilibrium in Bloomfield Hills.

katharine Larson grew up dancing under Sheryl Rowland in Kingwood, TX. She graduated Summa Cum Laude from the University of Arizona with a BFA in Dance and a minor in Chemistry and was the recipient of the Gertrude Shurr Modern Dance and Costume Manager Triple Threat awards. She has performed works by Ann Reinking, Mia Michaels, Bella Lewitsky, Ron De Jesus, Harrison McEldowney, James Clouser, Michael Williams, Sam Watson, Amy Ernst, Susan Quinn, Elizabeth George, Ronn Stewart, and Jessica Miller-Tomlinson. She has trained at the Juilliard School, LINES Ballet, and Thodos Dance Chicago, performing with Thodos in their New Dances Concert. She also performed throughout China with Artifact Dance Project.

company dancerS

moLLy mcmuLLen began her dance training at South Dayton School of Dance in Dayton, Ohio. Molly has attended various summer intensive programs including Ballet Chicago, DCDC, Parsons Dance, Paul Taylor and Hubbard Street Dance Chicago. She also danced for Pittsburgh’s Attack Theater in the 2011 Dirty Ball. She has performed at RDA ballet festivals and in 2006 received the Jeraldyne Blunden Award, which allowed her to attend the national Craft of Choreography Conference at Utah Valley State College with a full scholarship. Ms. McMullen graduated from Point Park University magna cum laude in 2012 with a BFA in dance. She has had the great opportunities of performing works by Jonathan Phelps, Doug Varone, George Balanchine, Darrell Grand Moultrie, Kiesha Lalama.

wiLLiam JorDan peake, Guest Dancer, hails from Akron, Ohio where he started his dance career at Studio West Performing Arts Centre. He moved quickly up the ranks, eventually joining the school’s senior company competition team. He began his college career at Bowling Green State University as a music major, but after performing in a student-choreographed dance showcase his sophomore year, he switched to dance. As a dance major, Mr. Peake choreographed and performed with the University Dance Alliance. During his final year at BGSU, he became a member of the Dance Repertory Ensemble. Later, he was invited to join Bowling Green University’s Rhythm Project, a tap dance ensemble. In addition to choreography and dance, Mr. Peake has a passion for color guard and winter guard. He is a former member of Zydeco Winter Guard from Dayton, Ohio, Bluecoats Drum and Bugle Corp in Canton, Ohio, and has taught at Maumee High School’s winter and fall guard for 3 years.

matthew schmitz graduated with a BFA in Dance from Webster University where he received departmental and general academic honors. He was a scholarship recipient at The Boston Ballet, Joffrey Ballet (Chicago), Kansas City Ballet, and Hubbard Street Dance Chicago. He has performed choreography by Antony Tudor, Alvin Ailey, Iyun Harrison, Eddy Ocampo, Michael Uthoff, Antonio Douthit, Kirven Boyd, Maggi Dueker, and Christine Kardell. Mr. Schmitz’s professional credits include Dawn Karlovsky and Dancers, Ashani Dances (Seattle), and the Municipal Theatre Association of St. Louis (MUNY).

morgan wiLLiams, Guest Dancer, began his dance training at the Joel Hall Dancers & Center and the Hyde Park School of Ballet in Chicago. He attended the Chicago Academy for the Arts, where he studied under Randy Duncan, Guillermo Leyva, and the late Anna Paskevska. He has received scholarships to attend summer intensives at Alvin Ailey American Dance Theater, Deeply Rooted Productions, and Hubbard Street Dance Chicago. He has performed works by Lar Lubovitch, Randy Duncan, Troy Powell, Joel Hall, Kevin Iega Jeff, Harrison McEldowney, and Joseph Holmes. Mr. Williams also dances in commercial projects and has danced for music artist Ginuwine and JQ. In addition, he has choreographed for Ginuwine and assisted Charles Lawrence and is on faculty with Dance Rogue Intensive Workshops.

emiLy zatursky was raised in Killingworth, Connecticut where she received her early dance training with Starship Dance Theatre, Eastern Connecticut Ballet and New Haven Ballet. After graduating high school in 2007, she attended The Hartt School at the University of Hartford where she graduated summa cum laude with a BFA in Dance. Ms. Zatursky has spent summers dancing with American Ballet Theatre, Joffrey Ballet School and Alonzo King Lines Ballet School. She also danced with Full Force Dance Theatre during their 2010-2011 season. Currently, Ms. Zatursky is an instructor at the Eisenhower Dance Centers and is in her third season dancing with Eisenhower Dance.

apprenticeS

LinDsay chirio began her training at a young age as both a dancer and a gymnast. She graduated from Oakland University with a BA in dance. She is currently a teacher at Big City Dance Center and Oakland Gymnastics and guest teaches and choreographs throughout the Detroit area. She has had the opportunity to perform and train with many choreographers and companies both commercially and in concert dance. She is currently in her second season with Eisenhower Dance.

Liz hynes graduated in the spring from Eastern Michigan University magna cum laude with a B.S. in Dance Performance. She received her early training from various studios in the Plymouth-Canton, MI area including La Dance, Encore Dance Academy, Masters of Dance Arts, and Dance Athletics Competitive Edge. She has performed works by Wendi DuBois, Holly Hobbs, Kathy King, Erik Abbott-Main, Travis Staton-Marrero, Phil Simmons, Shauna Steele, Sherry Jerome Wilkinson, and Ali Woerner. Ms. Hynes has most recently had the opportunity to perform at the Bates Dance Festival in Lewiston, ME in a work choreographed by Larry Keigwin. She is currently a choreographer and instructor for the competition team at Elite Dance Force in Canton, MI.

chiesa mason, originally from Washington D.C., received her dance training from Duke Ellington School of the Arts and later earned a BFA in dance at SUNY Purchase in New York. She received extensive training from Kirov Academy of Ballet, Dance Theatre of Harlem, The Rock School of Ballet, and the Dance Institute of Washington. She has performed works by Twyla Tharp, Stephen Petronio, Christopher Huggins, Lorraine Graves, and Arthur Mitchell. In 2012, she was a performer for Princess Cruise lines.

Josh ruBietta graduated from Northwestern University with a BA in Dance, an Environmental Policy minor, a Musical Theatre certificate, and a Piano concentration. Mr. Rubietta began his training at the Dance Academy of Libertyville, and has since received scholarships to study at Hubbard Street, River North, and Eisenhower Dance. In addition to dancing in many student-choreographed works and creating his own works, he has performed works by Randy Duncan, Annie Arnoult-Beserra, Laura Wade, and Joel Valentin-Martinez. He enjoys teaching piano, singing, accompanying ballet classes, and photography.

mike teasLey was born and raised in Detroit, MI. He began his dance training under the Direction of Jeri Sterrett at Jazz and Spirit Dance Theater of Detroit. In 2009, he enrolled in the Dance Program at Oakland University where he performed with Oakland Dance Theatre. Since then he has appeared as a guest artist with Eisenhower Dance and is now in his first year as an apprentice with the company.

ron De Jesus (Teacher, Choreographer, Founder & Artistic Director of Ron De Jesus Dance) danced with Ensemble Español and Hubbard Street Dance Chicago 17 yrs, starred in MOVIN’ OUT- Broadway’s Musical, “Come Fly Away’ creative team, Artistic Ambassador of Northeastern Illinois University, Artistic Associate for StagePlay’s Theater Company. Film credits: Road to Perdition, Stay & Across the Universe. Awards for Excellence: Best Choreographer – Chicago Music & Dance Alliance Award, 2 New York Musical Theater Festival Awards , DanceBreak, National Choreographers’ Initiative, Ruth Page Award for “Outstanding Male Dancer”, Carbonell Award, Broadway Cares / Equity Fights AIDS NYC, Created for: Aetna, Philips, Verizon, Matrix commercials, ” A League of Their Own” film, Hubbard Street Dance Chicago, BalletMet, Sacramento Ballet, Giordano Jazz Dance Chicago, Luna Negra Dance Theatre, Ballet Hispanico, Thodos Dance, New Jersey Repertory, Ballet Arkansas, Wayne State University, Western Michigan University, Harvard University, University of Michigan, Suny Purchase College, Fire Island Dance Festival, Music Hall of Performing Arts; Stars of Ballet and Broadway, Vladimir Malakhov’s Staatsballet Berlin, 2012 “Dance For Life” Chicago / Palm Springs, Dance USA, Dance Chicago Dance Festival, Dance Theater of Tennessee- Latin Heat series, Wayne State University, Evanston Dance Ensemble, Music Hall 2012 Gala, Escole Superieure De Ballet Du Quebec Corp De Ballet and for “RAW” representing Matrix & JCPenny. Mr. De Jesus just finished a new creation of a full length story ballet called “Osiris and Isis”. Mr. De Jesús is a repetiteur for Twyla Tharp Productions.

Lauren eDson, originally from Boise, Idaho began her training at Ballet Idaho Academy and Westside Dance Academy. She continued her formal studies at North Carolina School of the Arts and The Juilliard School, under the direction of the late Benjamin Harkarvy. She recently finished her third season dancing with Trey McIntyre Project . While a part of this celebrated company she was featured in several of Trey’s works including: “Bad Winter,” “Oh! Inverted World,” “In Dreams,” and “Shape.” Her past professional experiences include: Hubbard Street 2, Ballet Idaho and Idaho Dance Theatre. She has had the privilege to perform the works of Jose Limon, Paul Taylor, Angelin Perljicov, Robert Battle, Alex Ketley, and Pina Bausch, among others.

While based in Portland, Oregon she established herself as one of the most sought after local choreographers. She recently won the Great Works Dance Project Choreography Prize 2012, a National Choreography Competition affiliated with Western Michigan University. Her work, “Foreground” was chosen to perform at the Kennedy Center as part of the National College Dance Festival. Ms. Edson was selected to participate in The A.W.A.R.D. Show! 2011 and 2010 Seattle, affiliated with the Joyce Theatre, one of New York City’s major dance presenters. In 2009, she won the Northwest Dance Project’s first annual Pretty Creative’s International Choreographic competition. She has recently been named Artist in Residence at Mystic Ballet in Mystic, CT and commissioned by Eisenhower Dance Ensemble (MI), Opera Idaho (ID) Polaris Dance Theatre (OR) Grand Valley State University (MI), Washington and Lee University (VA) and Pacific University (OR) to create work for their upcoming seasons.

michaeL FoLey has been involved in the world of professional dance for over 20 years and is considered a master teacher and choreographer in his field. Mr. Foley received his MFA in Dance from the University of Washington in 2002 where he performed in the works of several of the 20th century’s major choreographers. He has taught workshops and master classes at universities, academic institutions and private studios throughout the United States and around the world. He has served on the faculties of New World School of the Arts in Miami, The Amsterdam Dance Center, The Association of Professional Dancers in Ireland, Balettakademien in Stockholm, and Bates College in Maine.

Mr. Foley has received choreographic commissions and conducted major residencies at academic institutions such as Harvard University, Texas Woman’s University, Cornish College of the Arts, University of Texas, New World School of the Arts, and University of Florida. He has received choreographic commissions from nationally touring repertory companies d9 Dance Collective in Seattle, Modern American Dance Company in St. Louis, Moving Current in Tampa, Eisenhower Dance Ensemble in Detroit, and Shade/Lacy Duets in Texas. His notable international commissions have been with Jus de la Vie Dance Company in Sweden, DoubleTrouble in Paris, Delfos Danza in Mexico, Momentum Danza in Panama, and DanzAbierta in Havana, Cuba, among many others. His work has been performed at many venues around the world.

In 1994 he formed his own company, “Michael Foley Dance,” touring the United States and Europe. Called “exuberant” and “hypnotic” by The New York Times, the Company received funding for new work and outreach programs. He is currently an Associate Professor of Dance at the University of South Florida where he teaches modern dance technique, choreography, dance history, and directs a yearly study abroad program for American dancers in Paris. He is the recipient of an award for Outstanding Direction of a Play from the Kennedy Center/American Theatre Festival for his co-direction of Metamorphoses, as well as multiple Gala Concert appearances of his choreography at the American College Dance Festival.

choreographerS

pauL christiano trained pre-professionally in Chicago suburbs for eight years before joining Hubbard Street II in 1998, Thodos Dance Chicago in 1999, and The Lyric Opera of Chicago in 2008. Paul’s first choreographic effort, Miracle, Interrupted, formerly in the repertory of The Joffrey Ballet of Chicago, merited a 2001 Ruth Page Award and inspired the Chicago Tribune to designate Paul one of sixteen “Chicagoans of the Year.” In 2003, Mr. Christiano was voted “Best Dancer in Chicago” by Chicago Magazine. Paul also received the 2003 Dance Chicago Choreography Award for Balada para un loco, currently in the repertory of River North Chicago Dance Company, and was nominated one of TimeOut Chicago’s “Dancing Men of 2010” for his work with Dmitri Peskov Dance Theatre.

Jamey hampton was born in Portland, Oregon, where he began his dance training in the burgeoning modern dance scene of the early 1970’s. He graduated from Dartmouth College in 1976 with a BFA degree in Drama. He joined Pilobolus Dance Theater in 1978, setting off for his first tour to the Indian sub-continent. He has danced with Tasndy Beal and Company, Crowsnest, was an original member of Momix, and in 1987 co-founded ISO Dance. In 1997, he co-founded BodyVox with Ashley Roland.

Mr. Hampton’s dance and choreography have taken him around the world, performing throughout Europe, the Far and Middle East, South America, the Caribbean, and throughout the U.S. and Canada. In 1989 he was the recipient of an Emmy award for his performance in the KCET television production “Episodes”. In 1998, he co-choreographed and performed in the Oscars, and in 2002 won an American Choreography Award for his work in the film series “Modern Daydreams”. He has created works for Ballet Pacifica, Portland Opera, the Lille Opera, Oregon Ballet Theater, Ririe/Woodbury Dance Company, Trinity Irish Dance Company, the Pacific Northwest Dance Project, as well as the full length Ballet “Peer Gynt” for the Geneva Opera Ballet.

With BodyVox, now in its sixteenth season, Mr. Hampton has collaborated with Ashley Roland on the creation of twelve full evening works, as well as numerous chamber pieces for the company. He choreographs for film and opera, and collaborates on a growing body of still image work. He has provided choreographic opportunities for company members, has collaborated with numerous arts organizations and individuals in Portland and beyond, and with the newly established BodyVox Dance Center enjoys the collaborative opportunities the Center facilitates.

A firm believer in community service, Mr. Hampton serves on the board of Pacific Northwest College of Art and the Portland Opera. He is a past board member of Northwest Business for Culture and the Arts, Artists for the Arts, and the Northwest Academy. He organized a gala evening of dance at the Joyce Theater in New York to benefit Amnesty International, and another to benefit the Tibetan Resettlement Project of Connecticut. In December of 2003 he organized an evening of music to benefit the international relief organization Mercy Corps. An accomplished musician, Mr. Hampton has released two CDs of original music, Throw Caution (2000) and Chasing Daylight (2003). He lives in Portland, Oregon with Ashley Roland and their sons, Bowen and Julian.

gina patterson has been hailed as a choreographer of “startling originality” (Back Stage) and “engaging creativity” (Richard Christensen) and is the artistic director of VOICE Dance Company, a project-based laboratory for her work. She was awarded the Choo San Goh Award for Choreography, the B. Iden Payne Award for Outstanding Choreographer, and was selected five times for the Ballet Builder’s Showcase in New York. She was recently nominated for an Isadora Duncan Dance Award - Outstanding Achievement in Choreography. Ms. Patterson is a winner of the Hubbard Street 2 National Choreographic Competition and the National Choreographic Initiative, and her ballets have been presented internationally in Italy, Germany, Slovenia, Mexico, Puerto Rico, Dominican Republic, and Spain. Since 1998, she has created over 70 original works for companies including VOICE, Richmond Ballet, Atlanta Ballet, CoDa21, Ballet Austin, Ballet Concierto, Nashville Ballet, Ballet Florida, Dayton Ballet, BalletMet, DanceWorks Chicago, Imagery, Ballet Pacifica, Ballet East, Point Park University, and the University of Iowa. In May of 2013, Ms. Patterson’s unique version of Romeo and Juliet for CoDa21 had its world premiere bringing audiences roaring to their feet. … but the flowers have yet to come, her recent collaboration with singer/songwriter Matthew Perryman Jones, visual artist Emily Leonard, and Nashville Ballet was an audience favorite and can be seen again in 2015. It is the most recent of her many multi-disciplinary works featuring collaborators such as musicians Tucker Livingston, Gary Nicholson, Sons of the Never Wrong, and DBR; visual artists Emily Leonard and Eliza Thomas; and theatre artists Sara Lovett and Pollyanna Theater.

Ms. Patterson is known as a versatile, consummate performer of classical and contemporary principal roles. Over the last 25 years, she has danced with VOICE, Pittsburgh Ballet Theater, Ballet Austin, Ballet Florida, American Repertory Ensemble, and as a guest artist, performing in the US, Canada, Iceland, Greece, Switzerland, Germany, Italy, Slovenia, and France.

motown in motion choreographerSLaurie eisenhower, See bio above

stephanie pizzo, See bio above

gregory patterson, is Dance Program Director and Associate Professor of Dance at Oakland University and a certified McEntire Method Pilates instructor. He is the Founder and Artistic Director of Patterson Rhythm Pace Dance Company (PRP). Born in Toledo, OH, he received his BS from Bowling Green State University and his MFA from the University of Michigan. Mr. Patterson has been a member of Harbinger Dance Company, Eisenhower Dance Ensemble (EDE), Ann Arbor Dance Works, and Rigmarole Dance Company. He has also performed as a guest artist with both the Bill T. Jones/Arnie Zane Dance Company and the Doug Elkins Dance Company of New York. His work has been set on EDE, Orchesis Dance Company at Western Michigan University, University Performing Dancers at Bowling Green State University, Alma College, and Bal-Chi Dance Company based in Chicago. Mr. Patterson received the Maggie Allesse Choreography Award, and his work was chosen for the Leo Choreography competition at the Jazz Dance World Congress. His signature piece, “Who’s the Boss,” was performed in Russia as part of an EDE appearance with the Pushkin Ballet. In 2003 Mr. Patterson choreographed Die Fledermaus for the Michigan Opera Theatre. In 2008, Mr. Patterson received a Travis Professorship, an award that will enable him to develop his dance company through annual stipends for the next three years. Last June, his company made their debut in New York City at the Ailey Citigroup Theatre.

BiLL De young has danced with the companies of Al Huang, Bella Lewitzky, Rudy Perez, Elizabeth Keen and Cliff Keuter. In 1975, he formed the DeYoung Dance Theatre in New York City and took the company on two national tours. Professor De Young has received choreography commissions from the Harvard Dance Center, the Joffrey II, the Chautauqua Festival Dance Company, NBC Television, The Yard on Martha’s Vineyard, Danza Universitaria in Mexico City, Truzka of Hermosillo, Mexico, Danza Una and Danza Universitaria of Costa Rica, Ann Arbor Dance Works, the National Company of Paraguay, Eisenhower Dance Ensemble, and others. During winter semester of 2000, he was guest faculty and choreographer for the Institut del Teatre in Barcelona, Spain, and guest teacher for the Jove Compania of Barcelona. In 1990, he was guest director of the National Dance Company of Costa Rica. Mr. De Young has been a Fulbright Senior Lecturer and Research Scholar in Costa Rica and has taught and performed in Germany, Yugoslavia, Hungary, Venezuela, Chile and Paraguay.

JoeL haLL is Artistic Director and Principal Choreographer for the Joel Hall Dancers and Chief Dance Instructor for the Joel Hall Dance Center. Co-founded in 1974 by Mr. Hall and the late Joseph Ehrenberg, the Joel Hall Dancers & Center comprise one of Chicago’s most diverse and respected performing arts organizations. During the past thirty-three years, Mr. Hall has achieved an international reputation for his dance company along with acclaim as a choreographer. He is noted as the creator of his own innovative Chicago urban jazz style of movement. Mr. Hall’s unique dance style expresses a rich vocabulary of movement embracing both the classical and modern idioms. Apart from the many works created for his own company, Mr. Hall has choreographed for Maria Tallchief’s Chicago City Ballet, Chicago Opera Theater, the Zenon Dance Company, Ballet Tennessee and Eisenhower Dance Ensemble. In addition, he was choreographer for Goldie Hawn’s now classic film Wildcats. Under Mr. Hall’s leadership, the Joel Hall Dancers have performed nationally and internationally, in places such as New York City, England, Scotland, the former West Germany, Norway and the former Soviet Union. Mr. Hall is the recipient of numerous awards including the Katherine Dunham Award, two Awards of Merit from the Black Theater Alliance and the King/Chavez/Parks Visiting Scholar Award from Western Michigan University. Mr. Hall was inducted into the Chicago Gay and Lesbian Hall of Fame by the late Mayor Harold Washington and in 2001 received the Black and Hispanic Achiever of the Year Award from the Metropolitan YMCA of Chicago.

LinDsay thomas (1952-2003) was a member of the dance faculty at Western Michigan University from 1979 until July of 2003. She was responsible for developing the jazz dance program to a level of international recognition. Ms. Thomas received numerous professional awards, including Michigan Dance Teacher of the Year (1988), the Leo “Gold Shoe” Award for excellence in jazz dance choreography (1997) and third place in the jazz/hip hop category at the Prague Dance Festival (2000). Ms. Thomas’ musical choreography was presented at a Regional American College Theatre Festival and her jazz concert choreography was showcased at four Jazz Dance World Congresses, winning the Gold Leo Award at the 6th Congress in Germany. Ms. Thomas conducted workshops for several organizations including International Dance Association, Chicago National Association of Dance Masters and the American College Dance Festival Association.

How Sweet It Is -- Eisenhower Dance Ensemble rocks the Opera House!

April 3, 2011 By Patty Nolan . Last night the Eisenhower Dance Ensemble brought its trademark moves – at once playful, gymnastic and elegant – to the Detroit Opera House for ‘Motown in Motion.’ The show is a visual romp through the history of the Motown Sound, opening with the Holland-Dozier-Holland classic ‘How Sweet it Is’ and working its way through other favorites made famous by the likes of Marvin Gaye, Diana Ross and the Supremes, Martha Reeves, Smokey Robinson, Gladys Knight and the Pips, Stevie Wonder and other legends. The show’s dance vignettes were created by an impressive roster of nationally and internationally respected choreographers, including Joel Hall, Stephen Koester, Ginger Thatcher, Bill DeYoung, Lindsey Thomas, Stephanie Pizzo, Gregory Patterson, and EDE artistic director Laurie Eisenhower, who introduced the show. ‘Motown in Motion’ showcases the astounding talent of EDE principal dancers Mary Bischo�, Alicia Cutaia, Rebecca McLindon, Ahmad Simmons and Morgan “Mo” Williams, apprentice dancers Barbara Schoen and Will Jordan Peake, plus community dancers recruited specifically for this program, including Eisenhower dance students. As a special treat for the audience, the second act included a flash mob sequence in which dancers planted in the audience suddenly jumped to their feet and began dancing in the aisles. Although this presentation of ‘Motown in Motion’ was a oneday - only event at the Detroit Opera House, check out the Eisenhower Dance ensemble website to review their 2011 schedule. If you are interested in experiencing contemporary dance at its finest – you don’t have to go to New York. Motown’s got it all going on.

Patty Nolan, Detroit Theater Examiner Patty Nolan is a freelance writer who's passionate about the performing arts. She believes theatre magic requires three things: a brilliant script, an inspired cast, and an enthusiastic audience. Life is good; theatre's even better. You may contact Patty with your comments and questions.

Eisenhower Dance: 'Motown in Motion' a hand-clapping delight

April 15, 2013 | By Sid Smith, Special to the Tribune

Eisenhower Dance Ensemble's "Motown in Motion," at Auditorium Theatre, part of Chicago Dance Month. Detroit often conjures up grim thoughts now, but it's wise to remember it is still a great American city, and great American cities mean art. A taste of it came this way over the weekend when the Motor City-based Eisenhower Dance Ensemble played the Auditorium Theatre on a program mixing artier offerings with a blowout tribute to Motown classics. Artistic director Laurie Eisenhower, a distant relative of the former president, boasts an attractive, limber ensemble and a smart, shrewd sense of programming. The short contemporary works, one of them by Chicago's Ron de Jesus, were interesting and intelligent. And "Motown in Motion," a kind of ongoing project wherein the many musical selections have shifted and changed in the piece over time, is a hand-clapping delight. In assembling it, Eisenhower, one of several choreographers who provide the various segments, strikes a nice balance between hip fun and serious dance. She doesn't compromise the dance artistry, but she welcomes enough snazzy stylistics to make "Motown" exhilarating and entertaining. Jonathan Alsberry, the keen, rubbery stylist from Normal, Ill., and a veteran of the Chicago scene, was on hand as a guest dancer Sunday and helped deliver the hijinks in such choice selections as "Twenty-Five Miles," in which the repeated lyric "walking" inspired an hilarious cross-stage strut devised by choreographer Gregory Patterson. Veteran Chicagoan Joel Hall provided "Motomix," a romp through Smokey Robinson and Stevie Wonder, among others, while "Ball of Confusion" helped bring in the strife and protest of the late '60s that was also part of the Motown mix. Various local dancers and students, roaming the audience at one point, enacted a terrific hoedown to the Jackson 5's "I Want You Back." Earlier, the excerpt from De Jesus' "Begin with the End in Mind" is a lovely reminder of his choreographic strengths. It's an elegant trio and structurally conveyed menage a trois, with Molly McMullen, balanced between two male suitors, marvelously enacting the broad catalog of leg formations and imaginative poses De Jesus provides her. Eisenhower's "Alice and," a last-minute substitute due to an injury, is an intriguing mix of film and dance, the live performers wittily echoing and riffing off their own film incarnations, Alicia Cutaia its winning star.

‘rite of spring’ dance reveals perils of progressBy Mark Stryker, Detroit Free Press Music Critic | Monday, June 18, 2012

Of the many striking images choreographer Laurie Eisenhower creates in her newly conceived “The Rite of Spring,” a sweeping parable about the double-edged sword of human “progress,” one in particular continues to resonate in the aftermath of Saturday’s Great Lakes Chamber Music Festival premiere.

Four dancers sit with their backs to the audience, staring like drugged zombies at hypnotizing rectangles of light -- televisions -- symbols of the dehumanizing effects of technology. Meanwhile, a solo dancer, Rebecca McLindon, twirls exuberantly around the others, a beacon of eloquent self-expression and humanity amidst the mechanized wasteland. Igor Stravinsky’s visceral score breathes life into her. The message seems to be that if we have any chance at all, art and the individual imagination will be our salvations.

The Great Lakes festival reached its midpoint with Stravinsky’s famous “Rite.” The festival collaborated with the Eisenhower Dance Ensemble to bring the work to the stage. This was one of the largest undertakings in Great Lakes history, but the ambition paid off handsomely in an inventive production that aimed high and often soared higher.

A number of major Stravinsky works are at the core of the 2012 festival, but the status of “The Rite of Spring” (1913) as a modernist icon and the rare chance to see a fully staged production held special allure.

Stravinsky’s piano four-hands reduction of his massive orchestral score provided the backbone. Pianists Elizabeth and Eugene Pridonoff untangled the rhythmic densities with admirable clarity. The welcome addition of three players from Percussion Group Cincinnati interpolating Stravinsky’s original orchestration restored a small but potent measure of the savageness lost in the piano arrangement.

Vaslav Nijinsky’s groundbreaking original choreography told the story of a sacrificial virgin who dances herself to death. Eisenhower’s retelling charts a birth-death-resurrection arc through human history, building tableaus around human conflict, the discovery of fire and the inventions of, among others, writing, the wheel, machines, cell phones and a mysterious force that ultimately annihilates us. A simple curtain backdrop, effective lighting and sleek white costumes added to the starkness of the conception.

There was wit -- a wheelbarrow, roller skates and bicycle lightened the mood -- but not much optimism. Eisenhower sometimes sent bodies ricocheting off each other to match the music’s violence; elsewhere, she put individuals in lonely silos. The evocation of the primordial dawn of life, with the dancers covered by a large, gauzy curtain and “erupting” in time to Stravinsky’s syncopations seemed to wink at Disney’s “Fantasia,” while some stomping suggested Nijinsky. But Eisenhower was telling her own story in her own way.

She set up an intriguing parallel near the end, placing a woman in a dominant role where a man had been at the start. If women were in charge, would things end any better for humanity? Eisenhower leaves the question unresolved, but without art, it won’t matter either way.

eisenhower Dance ensemble to premiere ‘rite of spring’ - June 16-17, 2012

By Julie Gervais, Dancepanorama | Tuesday, June 5, 2012

The 19th Annual Great Lakes Chamber Music Festival will present two fully staged performances of Igor Stravinsky’s famous ballet, The Rite of Spring, on June 16 & 17. Laurie Eisenhower, Artistic Director of Eisenhower Dance Ensemble, squeezed in a few minutes with Dancepanorama to tell us about it!

dp: You said that this music has been on your mind for a very long time. When did you know that now would be the time to finally choreograph to it, and how long have you been working on it?

LE: I’ve been listening to Stravinsky’s music over the years, since I started choreographing, and this piece is pretty powerful. I was in NY when the Joffrey revived it and learned a lot about it at that time. They were reviving the original work and I don’t think there’s any film available, but I think Nijinsky’s sister was alive then, and they were working with notes, and trying to reconstruct it. They worked on it for a couple of years. I also saw Pina Bausch’s version, Martha Graham’s, Paul Taylor’s…but I always liked the music and felt like if I took it on at a very young age that people might feel it was a little arrogant. So I decided to wait a bit. It’s a complex piece of music: mixed meter, and then the meter changes all the time. It’s a difficult piece for dancers to count. I spent over forty hours coming up with my own ‘score’, what I call my ‘dancers’ score’, so we had something to work with. But I had always wanted to tackle the piece; I had an idea for it probably ten years ago and was just waiting for things to kind of come together in order to take it on. Of course I wish I had another two or three weeks, now! But there’s never enough time, and I’m excited about what we have.

dp: After spending so much time with this music, can you say why it might be that something so poorly received at first has become so cherished and exalted?

LE: Well, of course it wasn’t just the music that people had a problem with. The dance was very turned in, very radical and against the ballet tradition. And the subject matter was controversial. And the music is very percussive, and rhythmic in a very odd way. So you put all those things together, and people started booing, and it just got out of control. So I can understand the history of that. But the music appeals to me because of the driving force that it has, the percussiveness, the wide range of dynamics. I find all those things very exciting, and I like how it’s complex and has so many shadings. Often these days, I think choreographers are picking music that has a regular 4/4 meter, and it’s easy to have only one dynamic in a piece like that. So it’s nice to work with music that has all sorts of dynamics; it helps inspire the choreography.

dp: the piece has a long lineage. there are iconic movements, poses and shapes that are strongly associated with it. Do these resonate with you while you work?

LE: Well, except for the Paul Taylor version, the other versions I’ve seen have all taken on the original scenario, that of the sacrificial virgin. I’ve not done that so it’s been easier to stray from the originals. Also, for the last ten years I’ve purposely not been watching any of the original versions. I didn’t want any of their images in my brain. I think that when you watch other dances, sometimes that choreography can come out subconsciously and I try to avoid that as much as I can.

dp: You have chosen to forge your own path with the storyline, forgoing the tale of maiden ritual sacrifice and instead using a theme of human discovery and innovation. Can you say what led you to this? Were there specific images that the music conjured, and do you depict any of these ideas in a literal way on the stage?

LE: Well, I actually choreographed a dance in 1999 called ‘Rites and Passages’. Many years before that, a choreography teacher had told me that you couldn’t choreograph a dance about the history of the world. And I thought, ‘Well why not?’ So, I did! But I was a younger choreographer at that time, and I liked the concept but later on, felt like I didn’t completely realize it, and I always wanted to go back to it. And then, listening to the ‘Rite of Spring’ music, I thought that I could merge that idea with this music. So it all made sense to evolve those ideas through this music.

dp: And do you think that the teacher was saying that it’s just too broad of a concept?

LE: Yes, and I understood what she was saying, but I think how you approach things is what matters. In a way, I am dealing with the whole history of the world but specifically, with the idea of change – things have transformed our society and how conflicts arise with change.

dp: how many dancers are you working with, and is there more solo/partnering work or more corps work or is it kind of a balance?

LE: There are 10 dancers, and they are mostly working as one tribe. There are some solos and duets. Originally I had wanted 20 dancers but I decided to narrow it down and I’m glad I did. The 10 dancers really fill up the stage and 20 would have been crowded, so I think it worked out well. And we have a set design, and there’s all sorts of props, so there logistical craziness but I think it will be exciting when it all comes together.

dp: Can you name just a few of the things you are most excited about, for this premiere, maybe things that you want to tell the audience to look out for?

LE: Well, for one the music is going to be really incredible. The Pridonoffs, Elisabeth and Eugene, are going to be performing the music with some percussionists, and that will be amazing. I have so many collaborators on this project and I’d like the audience to notice their work too – costumes designed by Monika Essen and executed by Shari Bennett. My lighting designer is Kerro Knox 3 and set design is by Jeremy Barnett. In terms of the choreography, I like the work to speak for itself. I know some people tend to focus on the technique of the dancers, others on the figuring out the story. This is being performed at the Great Lakes Chamber Music Festival, so a lot of the audience will be chamber music fans. Overall, I’m just excited for that moment when an audience sees a piece for the first time. It’s one of the thrills of being a choreographer!

more praise For eisenhower Dance | “… an altogether satisfying evening.” (Ann Arbor News) | “An inventive production that aimed high and often soared higher.” (Detroit Free Press, June 2012) | “Danced

with panache … succeeds from beginning to end.” (Dance Magazine) | “Dance that touches the soul” (Detroit Free Press) | “Dramatic … structural suavity” (Los Angeles Times) | “… dance that beckons

with a blend of virtuosity and sly humor.” (Dance Magazine) | “funny and touching” (New York Times) | “the dancers … had the back row eating out of their hands.” (Detroit Free Press) | “Intelligently crafted

repertoire.” (Dance Magazine) | “The athletic skill and synchronized execution of the seven young dancers mesmerized the audience.” (Oceana’s Herald-Journal) | “Michigan’s premier modern dance

company” (HOUR Magazine) | “Particularly impressive …” (St. Louis Today, May 2011)

preSS QuoteS

“Stunning!”Detroit Free Press

“If you are interested in experiencing contemporary dance at its finest - you don’t have to go to New York.” Detroit Examiner

“No-nonsense moves from the Midwest …

would be a pleasure to see them again” New York Times

“...left the audience clamoring for more” Noozhawk, Santa Barbara

“Excellent!”Los Angeles Times

“A hand-clapping delight” Chicago Tribune

contact personJoDie ranDoLph, Company ManagerEisenhower Dance 24901 Northwestern Highway, Suite 312 Southfield, MI 48075Office: 248-559-2095Fax: 248-559-2098randolph@eisenhowerdance.org

technicaL riDerThe following technical information is presented as a general overview; however, Eisenhower Dance can be flexible in order to accommodate the needs of each presenter. The specifications for the stage and lighting will enhance the overall performance quality but are not requirements.

the stage: Proscenium stage or other performing space, approximately 40 ft wide by 25 ft deep. The floor should be resilient with a smooth surface covered by vinyl dance flooring. Crossover space is preferred but not necessary.

technicaL requirements: For concert performances, performing space should have white cyclorama, black scrim, black legs creating four wings on each side, theater lighting capabilities including side lights, washes, and two overhead specials. Eisenhower Dance will provide presenter with detailed lighting and hanging plots. The company will need approximately two hours to load in, five hours to hang and focus, and three hours for technical rehearsal. Preferably the technical rehearsal occurs the day before the performance(s).

sounD: The Company travels with recorded music in CD format. Eisenhower Dance requests the presenter equip the performance space with an appropriate sound system. The speakers should be sufficient for the house and include two on-stage monitors. In addition, the company requests one wireless, handheld microphone.

crew: Eisenhower Dance travels with a Technical Director who will serve as the lighting director during the run of the show. The presenter should provide the following crew: 4 people for load-in, 4 people for run of show (sound, lights, 2 grips), 4 people for strike and load-out. The personnel that run the technical/dress rehearsal must be the same crew that runs the performance.

Dressing rooms: Two separate dressing rooms with counters, mirrors, sinks, toilets and showers.

hospitaLity: The Company requests noncarbonated bottled water, juice, yogurt, fruit and deli tray on day of technical rehearsal. Bottled water is requested for day of show.

Booking information

Date

August 19-23, 2013

September 14-18, 2013

September 25, 2013

September 28, 2013

October 10-13, 2013

October 19-20, 2013

December 5, 2013

December 6, 2013

January 15-18, 2014

January 21-27, 2014

January 30-February 1, 2014

February 12, 2014

February 21, 2014

February 26-March 1, 2014

January 21-27, 2014

March 7, 2014

March 9, 2014

March 10-14, 2014

TBD, 2014

April 10-13, 2014

May 17, 2014

June 7-8, 2014

July 2, 2014

July TBD, 2014

Location

Bloomington, IN

Ada, OH

Nashville, TN

Ada, OH

Alma, MI

Rochester, MI

Beverly Hills, MI

Beverly Hills, MI

Asheville, NC

Rochester, MI

Cleveland, OH

Lansing, MI

Traverse City, MI

Ironwood, MI

Rochester, MI

Clinton Township, M

Rochester, MI

Wabash, IN

Troy, MI

Rochester, MI

Roscommon, MI

Troy, MI

Lakeside, OH

Lądek-Zdrój, Poland

Venue

Indiana University

Ohio Northern University

Polk Auditorium, PAE Conference

Ohio Dance Festival

Alma College

Oakland University

Seligman Performing Arts Center

Seligman Performing Arts Center

Diana Wortham Theatre

Oakland University

Cuyahoga Community College

Wharton Center

Traverse City Opera House

Historic Ironwood Theatre

Oakland University

Macomb Center

Varner Recital Hall

Honeywell Center

Troy Athens High School

Varner Recital Hall

Kirtland Center for the Performing Arts

Troy Performing Arts Center

Hoover Auditorium

International Dance Festival

actiVity

Choreographic Exchange

Choreographic residency

Showcase Performance

Master classes & Performance

Choreographic residency

On the Move Repertory Performances

Student Performance

December Dances Repertory Performance

Residency & Performances

Residency & Performance

Residency and Performance

Red, Hot & Blue Performance

Red, Hot & Blue Performance

Residency and Performance

Teaching & Choreographic residency

TranscenDance Performance

Dance Day Performance

Kids in Motion Performances

Kids in Motion Performance

Guest Artist Performances

Master Classes & Performance

Center Spring Showcase Performances

Residency & Performance

Master Classes & Performances

2013-2014 Detroit Metro Series

2013-2014 Schedule