REPERTORY
Altarground [1970] – Four dancers on suspended Inner tube tires, inspired by Hieronymous Bosch’s “Garden of Earthly Delights”. Choreographed by Evanitsky and company, with music by Richard Lowenberg.
Alien Connection [1971] – Duet of cyclical relationships, aerial and earthbound, with sound score loop by Cream. Choreography by Robert Fiala.
Muses [1972] - Three dancers on suspended inner tube tires, with “Tibetan Bells” music from Wolff and Hennings. Choreographed by Stephanie Evanitsky and Diane Van Berg.
Splat [1972] – A light-hearted group work that is an abstraction of the circus’ spectacle, color and bouncing clowns, with music by Ligetti. Choreography by Stephanie Evanitsky and Robert Fiala.
Silver Scream Idols [1972/1978] – An imagistic collage for two dancers based on the lives and deaths of superstars Marilyn Monroe and Janis Joplin. Supported by garter-like leg bands rigged to a high point with the dancers metaphorically fixed in space, as they were captured in the limelight of public adoration and darkness of personal despair; with sound score of Janis Joplin and Marilyn Monroe’s music. Choreography by Evanitsky and company.
Sure Was [1973] – Phantom man-woman relationships and partnerings that float through the mind; a surreal entering of a “dreamer” into her psyche and then balancing on an “emotional” tightrope as she reacts to the couples of her dream. This work for five dancers on suspended sling-like swings is accompanied by a soundscore by Terence Thomas. Choreography by Evanitsky.
Buff Her Blind: To Open the Light of the Body [1974] – Commissioned by the American Dance Festival where it was performed outdoors at sunrise and sunset. This six-dancer work, performed on 3 horizontal tracks of elastic ropes, was inspired by the origins of magic—incantation and ritual; with music by Richard Hayman. Choreography by Evanitsky.
Carry [1973] –Inspired by the magical aspects of medieval carnivals with choreography by Evanitsky.
Homage to Picasso [1976] – Inspired by Pablo Picasso’s perception of the body in motion and his
favorite subjects: acrobats, models, lovers and children. This piece for six dancers takes place on an arrangement of horizontal and vertical ropes and an angled slide surface. It is accompanied by a
collage of music by Nino Rota, Robert Schumann, The Modern Jazz Quartet, Debussy and Eddie “The
Sheik” Kochak. This dance was choreographed under a Guggenheim Fellowship to Stephanie Evanitsky and premiered in the rotunda of the Guggenheim Museum in 1976.
Bobo & Jellybean Forever/Hot Jam [1978] – A duet in the tradition of the forever-youthful, forever-playful, forever-dancing couple that takes its inspiration from Benny Goodman and the Swing Era’s dancing duo, Fred Astaire and Ginger Rogers. Choreography by Stephanie Evanitsky, Donald Porteous, Barbara Salz.
Jet Roulette [1978] – A solo dance performed on an 18’ canvas incline, or slide, on which the dancer becomes a spiralling calligraphy of spewn energy, with music by Keith Jarrett. Choreography by Evanitsky.
Carnaval [1979] – A festive, rhythmic distillation of the spirit of Brazilian carnival for four dancers on horizontal elastic ropes, with traditional Brazilian carnival music. Choreography by Evanitsky
Autumn Song [1981] – A duet of spinning dancers evoking the windswept beauty and melancholy of autumn, with original flute music by Travis Gering. Choreography by Kay Gainer and Barbara Salz.
Mesozoic Menagerie [1985] – A “creature dance” exploring animal life of the Mesozoic era, following the path of evolution from one-celled water organisms, to land lizards, baby dinosaurs and great flying pterodactyls with costumes by Alyson Pou. Commissioned by The Field Museum in Chicago and choreographed by Barbara Salz and company.
The Elvis Dance [1986] – A suite of dances utilizing the early music of Elvis Presley. The Elvis Dance includes a playful opening duet [“Teddy Bear’] for a couple dancing on swinging seats; a mysteriously beautiful solo [“Loving You”] for a dancer in an ankleloop with a long purple scarf; and a high-energy trio for three dancers on barstools [“Heartbreak Hotel,” “Blue Suede Shoes,” “Long Tall Sally,” “Hound Dog,” and “Too Much.”]. Choreography by Kay Gainer and company.
Flying, Falling and Standing Still [1987] – A dance/theatre piece created in collaboration with storyteller Posy Gering and 5th graders from P.S. 19 in Manhattan exploring creation myths of the Aztecs, Babylonians, Eskimos and Greeks along with original creation myths written and illustrated by the 5th graders; utilizing scrim, lighting and projection techniques, with original music by Travis Gering. Choreographed by Barbara Salz and company.
Journeys [1989] – A multi-media storytelling/dance/music production based on writings about journeys from folklore and mythology as well as real and imaginary journeys written and illustrated by 5th graders from P.S. 19 in Manhattan; with original music by Rob Mounsey. Choreography by Barbara Salz and company.
Catfish and Honeybee [1989] – Inspired by the blues music of the American south, this work for four dancers was created in collaboration with visual artist Janet Nolan and blues performer Bobby Radcliff playing the music of Muddy Waters and Professor Longhair. The dancing takes place on stilts, vertical ropes, ankle loops and harnesses through a changing multi-media set of scrims, umbrellas and projected images. Choreography by Kay Gainer and company.
Ruff [1991] – Upbeat reggae music drives this quartet for harnessed dancers. Choreography by Margaret Liston.
Altarground [1970] – Four dancers on suspended Inner tube tires, inspired by Hieronymous Bosch’s “Garden of Earthly Delights”. Choreographed by Evanitsky and company, with music by Richard Lowenberg.
Alien Connection [1971] – Duet of cyclical relationships, aerial and earthbound, with sound score loop by Cream. Choreography by Robert Fiala.
Muses [1972] - Three dancers on suspended inner tube tires, with “Tibetan Bells” music from Wolff and Hennings. Choreographed by Stephanie Evanitsky and Diane Van Berg.
Splat [1972] – A light-hearted group work that is an abstraction of the circus’ spectacle, color and bouncing clowns, with music by Ligetti. Choreography by Stephanie Evanitsky and Robert Fiala.
Silver Scream Idols [1972/1978] – An imagistic collage for two dancers based on the lives and deaths of superstars Marilyn Monroe and Janis Joplin. Supported by garter-like leg bands rigged to a high point with the dancers metaphorically fixed in space, as they were captured in the limelight of public adoration and darkness of personal despair; with sound score of Janis Joplin and Marilyn Monroe’s music. Choreography by Evanitsky and company.
Sure Was [1973] – Phantom man-woman relationships and partnerings that float through the mind; a surreal entering of a “dreamer” into her psyche and then balancing on an “emotional” tightrope as she reacts to the couples of her dream. This work for five dancers on suspended sling-like swings is accompanied by a soundscore by Terence Thomas. Choreography by Evanitsky.
Buff Her Blind: To Open the Light of the Body [1974] – Commissioned by the American Dance Festival where it was performed outdoors at sunrise and sunset. This six-dancer work, performed on 3 horizontal tracks of elastic ropes, was inspired by the origins of magic—incantation and ritual; with music by Richard Hayman. Choreography by Evanitsky.
Carry [1973] –Inspired by the magical aspects of medieval carnivals with choreography by Evanitsky.
Homage to Picasso [1976] – Inspired by Pablo Picasso’s perception of the body in motion and his favorite subjects: acrobats, models, lovers and children. This piece for six dancers takes place on an arrangement of horizontal and vertical ropes and an angled slide surface. It is accompanied by a collage of music by Nino Rota, Robert Schumann, The Modern Jazz Quartet, Debussy and Eddie “The Sheik” Kochak. This dance was choreographed under a Guggenheim Fellowship to Stephanie Evanitsky and premiered in the rotunda of the Guggenheim Museum in 1976.
Bobo & Jellybean Forever/Hot Jam [1978] – A duet in the tradition of the forever-youthful, forever-playful, forever-dancing couple that takes its inspiration from Benny Goodman and the Swing Era’s dancing duo, Fred Astaire and Ginger Rogers. Choreography by Stephanie Evanitsky, Donald Porteous, Barbara Salz.
Jet Roulette [1978] – A solo dance performed on an 18’ canvas incline, or slide, on which the dancer becomes a spiralling calligraphy of spewn energy, with music by Keith Jarrett. Choreography by Evanitsky.
Carnaval [1979] – A festive, rhythmic distillation of the spirit of Brazilian carnival for four dancers on horizontal elastic ropes, with traditional Brazilian carnival music. Choreography by Evanitsky
Autumn Song [1981] – A duet of spinning dancers evoking the windswept beauty and melancholy of autumn, with original flute music by Travis Gering. Choreography by Kay Gainer and Barbara Salz.
Mesozoic Menagerie [1985] – A “creature dance” exploring animal life of the Mesozoic era, following the path of evolution from one-celled water organisms, to land lizards, baby dinosaurs and great flying pterodactyls with costumes by Alyson Pou. Commissioned by The Field Museum in Chicago and choreographed by Barbara Salz and company.
The Elvis Dance [1986] – A suite of dances utilizing the early music of Elvis Presley. The Elvis Dance includes a playful opening duet [“Teddy Bear’] for a couple dancing on swinging seats; a mysteriously beautiful solo [“Loving You”] for a dancer in an ankleloop with a long purple scarf; and a high-energy trio for three dancers on barstools [“Heartbreak Hotel,” “Blue Suede Shoes,” “Long Tall Sally,” “Hound Dog,” and “Too Much.”]. Choreography by Kay Gainer and company.
Flying, Falling and Standing Still [1987] – A dance/theatre piece created in collaboration with storyteller Posy Gering and 5th graders from P.S. 19 in Manhattan exploring creation myths of the Aztecs, Babylonians, Eskimos and Greeks along with original creation myths written and illustrated by the 5th graders; utilizing scrim, lighting and projection techniques, with original music by Travis Gering. Choreographed by Barbara Salz and company.
Journeys [1989] – A multi-media storytelling/dance/music production based on writings about journeys from folklore and mythology as well as real and imaginary journeys written and illustrated by 5th graders from P.S. 19 in Manhattan; with original music by Rob Mounsey. Choreography by Barbara Salz and company.
Catfish and Honeybee [1989] – Inspired by the blues music of the American south, this work for four dancers was created in collaboration with visual artist Janet Nolan and blues performer Bobby Radcliff playing the music of Muddy Waters and Professor Longhair. The dancing takes place on stilts, vertical ropes, ankle loops and harnesses through a changing multi-media set of scrims, umbrellas and projected images. Choreography by Kay Gainer and company.
Ruff [1991] – Upbeat reggae music drives this quartet for harnessed dancers. Choreography by Margaret Liston.
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