2023 Wrapped

2023 was a really creatively fulfilling year. I got to do so much in dance, intimacy, and movement direction, and I am so grateful to have had these opportunities.

TL;DR:

I did a lot of fun stuff with awesome people.

I work with students, who then become professional colleagues.

I work with director colleagues who value me, not just as box to check, but as movement artist who makes story better/more interesting/clearer.

Theatre improves your Spanish!

I interact with incredible artists, at the top of their craft. But my 2023 award for star collaborator goes to Morgan Parker.

Photos of all of these moments are on my Dance and Intimacy Choreography works sample pages.

January: I actually performed again, as well as choreographed for the 2nd "KINesphere", funded by the Broward County Cultural Division. I was also back at Theatre Lab ID'ing "Last Night in Inwood" by Alix Sobler, directed by Matt Stabile, featuring Aubrey Elson and Javon Jacobs.

February: I ID'd 3 shows: "Good People" at The Maltz Jupiter Theatre, "Chicken and Biscuits" with the incredible Bianca LaVerne Jones at Asolo Rep, and "Company" at NWSA.

March: I got to movement direct and choreograph as part of TheatreLab's New Play Festival. I also ID'd a Miami story, "Defacing Michael Jackson" at Miami New Drama.

I was also honored to be a speaker at the 40th annual Miami Film Festival, on Intimacy Coordination. I got to be with a wonderful creative and conversation partner, Chris Molina.

April: I had the honor of working on the Rolling World Premier of the incredible Spanish/English play-with-music, "Refuge" with friends and colleagues.

I also ventured into violence, as well as intimacy, for “Marisol” at NWSA.

May was a rest, which was great, because I needed to plan for my VAP position at FAU Department of Theatre & Dance, before jumping into rehearsals.

June: I had a blast with my second Summer Shorts at City Theatre.  Extra bonus was working with Melissa Almaguer, Alex Alvarez, and Maha McCain on these.

A film I worked on the year before, "Jagged Mind" premiered in Miami at the American Black Film Festival, and then dropped on Hulu. It later makes Decidr's Top 10 List of Movie Sex Scenes for 2023! Masie Richardson-Sellars stars, with direction by Kelley Kali. 

July: I met one of my new favorite humans and collaborators, Christopher Michaels! I did intimacy and violence for "Thrill Me", which he directed, starring Dylan Goike and Kevin Veloz. They were accompanied by Eric Alsford, and honestly, he and the 2 actors did NOT get enough love and notice this theatre season. They were perfection.

August: I got to work with Miami's hottest new theatre company, Lakehouseranchdotpng, on the world premier of "XOXO, Lola" starring Noelle Nichols and Samuel Krogh. Lauren Witte captured some of our rehearsals for the Miami Herald.

September: Was all about "Love! Valour! Compassion!". I worked my tail off on this one. Re-staging the "Little Swans" variation from "Swan Lake", creating a modern dance solo for Robert Koutras (who was flipping amazing at it), and collaborating with the legendary Michael Leeds on the intimate and violent moments. All of these actors were amazing and they ripped my heart out.

October: I FINALLY got to ID "Spring Awakening". It and "Romeo and Juliet" are like THE shows for IDs, and I've done R&J twice, so, it was time. This was for the BUTC at FAU. My favorite moment was actually the fantasy about the piano teacher. I am appreciative of the students' clear communication, bravery, and joy in the process.

A film I worked on the year before, "Pain Hustlers", also came to Netflix. I was the Miami unit IC.

November: At the end of October, I got to rejoin Bianca LaVerne Jones, this time in Philadelphia at the Lantern. I was so excited to come "home" to create the dance and intimacy for the powerful, beautiful "Crumbs from the Table of Joy".

I also did dance and intimacy for fun musical "9 to 5", at FAU. The dance captains, Sarah Sun Park and Marissa Spurr were invaluable, and working with Ted deChatelet and Caryl Ginsburg Fantel was a dream.

I also got to go back to the Lab, this time as the movement director for "The Berlin Diaries" as the forces that are Niki Fridh and Avi Hoffman tackled 14 characters in 85 minutes.

December: Was a month of joy as I watched Ballet 2 of FAU be more beautiful than I hoped in the fall dance concert. And right before the holidays, we closed "La Gringa" at City Theatre. This play exemplified the magic of theatre, for me. But also, the magic of the work I get to do.

Announcing Intimacy Direction in Dance!

I came to Intimacy Direction and Intimacy Coordination because of my work in theatre. I came to work in theatre as a choreographer and a dancer. Dance has always shaped the journeys of who I am and what I do. Since I started learning Intimacy Direction in 2018, and particularly once I met Sarah Lozoff, I had a goal of bringing Intimacy Direction to concert dance- especially ballet and modern. And now, we’re one step closer,

IntimacyDirectionInDance.com

Sarah and I, with the fantastic Renee Redding-Jones are excited to launch Intimacy Direction in Dance! We are here to let dance companies know that Intimacy Direction is available to them! And that there are professionals specifically trained in both dance and intimacy. The power dynamics, vocabulary, and performance demands of dance are all slightly different than those of theatre of film. So we want dance companies to work with folks who are well-versed in the dance performance, creation, and teaching worlds, so that the application of Intimacy Direction to dance performances is beneficial to dancers, choreographers, and audiences.

We are excited to get to work!

Motif Writing in Intimacy Choreography

A year of work, and another year of waiting, and my first peer-reviewed journal article has been published! In it I share my experience using Laban/Bartenieff Movement Analysis (LBMA) for Meaning-Making and Show Maintenance in Intimacy Choreographer for theatre productions. You can read it online in the Journal of Movement Arts Literacy.

Huge thanks to:

The cast and creative team of Measure for Measure’s In the Heights

The cast and creative team of TheatreLab’s The Glass Piano

My IMS cohort and faculty educators

Teresa Heiland, the editor of JMAL

Interview with Sunshine Arts

It is my honor to be part of the inaugural issue of Sunshine Arts, a newsletter by Amy Mahon, of South Florida artists and events!

I was interviewed about my dance teaching at the University of Miami in the time of COVID. I focus specifically on using technology in modern and jazz dance classes.

Check it out for free here.

Tea and Sex Session on Intimacy Direction

Back in July I got to be a guest on the Wilzig Erotic Art Museum’s Thursday afternoon Tea and Sex sessions, talking about intimacy direction!

Here Melissa and I discuss the “what it is”. This is just the first few minutes of an hour-long conversation and interactive session with participants.

Nicole Perry is a guest on the Wilzig Erotic Art Museum's Tea and Sex Thursday afternoon session with Melissa Blundell-Osorio discussing what is intimacy dir...

What does Intimacy on Stage Look Like after Corona?

Well, that’s a really bold question, as we have no idea what just being on stage looks like right now!

But, in the past week I’ve had a couple of conversations about this, and I do have some thoughts.

1. Even if we’re “back to normal”, there are going to be performers, directors, and administrators that are more wary of intimacy, especially if those intimate moments would cause a meeting of soft tissues like kissing. I am already in the habit of choreographing a “Plan B” for kisses that can be done in case of actor illness, and understudy stepping in, etc. A good intimacy director/choreographer should have been providing these all along, and they, the director, and the actors involved should all feel just as confident about the story-telling involved in those moments as they do with the kiss. See my earlier post about Plan Bs.

   It is possible that bringing on an Intimacy Director/Choreographer is part of a company’s safety plan. This was raised in a conversation hosted by Directors Lab West yesterday with Ann James of Intimacy Directors of Color and Carly D. Weckstein, an independent sex educator and Intimacy Director (check out the convo here). Bringing in an ID could be a way a company says to their community that they take the physical and mental health of their performers and production crew seriously, and are hiring people with specials skills in doing that.

   Both of these thoughts lead me to #2.

2. Intimacy Directors/Choreographers are Movement Specialists. And movement is still going to be on stage, even if physical contact is not.

   Intimacy Directors/Choreographers are movement specialists (or at least they should be). They have been trained in movement for the stage. Sometimes this aspect gets lost in the more “news-worthy” part of the job- gaining consent, establishing boundaries, hopefully avoiding lawsuits for the company, etc. I came to this work after 10 years of choreographing. I have a Bachelor’s degree in dance. I have studied movement at an even deeper level by obtaining my Laban certification. When I train with IDI, IDC, or TIE, we are given feedback not just on our ability to put best practices in communication into use, but in our choreographic abilities. My job is make sure the story is told, and told well, and that the director and actors feel confident in the performance.

   I believe my in-depth knowledge of movement will make me more of an asset to confident story-telling on the stage, even if the actors must remain apart or not fully physically engaged in the intimacy.

I do believe my role will still be necessary when we get back in space together. For safety and for the sake of the story, I think it will be even more necessary! We’ll see if the industry agrees!

I’d love your thoughts- whether you are a performer, director, producer, or audience member- what would seeing this role in a playbill mean to you pre-Coronavirus? Would it mean the same, or something different after? Leave me a comment!

Movement Analysis of the Creature in The National Theatre's "Frankenstein"

The Making of a Monster

One cool thing to come out of this time of physical distancing is all of the recorded/broadcast theatre being made available. This is especially awesome for shows I would not typically have the opportunity to see, like ones in London! So last night, I watched both versions of the National Theatre’s much-talked about new Frankenstein, starring Benedict Cumberbatch (BC) and Johnny Lee Miller (JLM). These broadcast recordings are available on the National’s Youtube channel until May 7 and 8, depending on the version.

What’s so talked about in this play, you ask? Besides Sherlock on the stage, of course. Well, it’s that the 2 leading men would swap parts, one night playing The Creature, another night the creator. Handling 2 parts of this size, at the same time is pretty amazing, in and of itself. And as a story-telling device, the interchangeability of creature/creator is an interesting concept, especially when you remember that in Frankenstein, the word “monstrous” is used to refer to the Doctor, not his experiment. But, as a movement analyst, I’m going to talk about the specific movement choices made by the actors when they played The Creature, and what that brought to the production.

What is important to know about Laban/Bartenieff Movement Analysis is that this is an observational technique. That means that the observer (me) still has all their own preferences and interpretations about what they are observing. I have reasons for believing that my observations are correct, however, until I actually speak to the actors and their movement director about the choices made, I have no way of knowing if I’m “right”. This production did have a movement director, Toby Sedgwick, who is an incredible master of movement (A movement director is a position I don’t see a lot of theatres employ, and he is a great example of what having one can bring to a production!). I’ve never spoken to him, so I’m not sure how much of a “score” he gave the actors, or what that score was.

***SPOILERS AHEAD***

I started watching the version with BC as The Creature first. In the first 6 minutes, my movement analyst brain was freaking out! Once The Creature is out of “the womb”, he moved through Irmgard Bartenieff’s Patterns of Total Body Connectivity. Bartenieff gave names to Patterns she saw humans move through to achieve what is considered healthy, coordinated development. These don’t happen linearly, so much as overlapping and intertwined, and the ones that come before underpin the ones that come after. The PTBCs are:

1. Breath

2. Core-Distal

3. Head-Tail

4. Upper-Lower

5. Body-Half

6. Cross-Lateral

It is in Cross-Lateral that humans have access to the full 3-dimensionality of their bodies, and coordinated movement. Significantly, in terms of analysis, JLM’s Creature gets to Cross-Lateral movement about a full minute before BC’s Creature does. It is my guess that this is why I, and several of my friends “like” BC as The Creature more. His Creature spends more time discovering himself before moving out.

While he does explore all 6 PTBC’s in his opening scene, BC’s creature spends much of it, and much of the show, in Upper-Lower. This Pattern is where we “get work done” and builds our sense of “personal power”- an incredibly resonant movement choice for The Creature. Upper-Lower helps us push and pull, towards or away, in order to achieve a goal. There is a developing sense of intention. This is why I think BC’s Creature works so well- he is working to achieve a goal, and it is hard work! But, the movement is able to be upright and obviously human-like, without being fully what we identify as human. He only hits the full Cross-Laterality of his movement in moments of extreme (I’m thinking of his spiraling leap in the Scotland lab, in particular).

BC makes really clear choices in the Body category. JLM work in the category of Effort, particularly his choices as regard to Time. The Time element relates to our decision-making, and JLM embraces the Sudden side of the polarity, which totally works for a Creature acting only on impulse. There is no reflection, research, or weighing of options. This gives a sense of urgency to his Creature. The show with BC in The Creature role feels like a developing power struggle- the Doctor losing it as The Creature gains it. The show with JLM in The Creature role has a sense of urgency to it, when it all gets resolved feels more important. I believe this choice drives the scenes he’s in as well, picking up the pace of the entire show.

JLM demonstrates incredible flexibility and fluidity. Which doesn’t quite resonate for The Creature, for me. However, Frankenstein’s line about “balance” when he and The Creature interact after William’s death does better fit this version of The Creature. JLM’s Creature’s movement being more fully developed as Cross-Lateral, with fine motor skills, makes his Act 2 lines about “assimilation” ring even more true. And, therefore makes his following actions even more heinous.

If you want to continue to analyze: A place to really see these different choices (Upper-Lower v. Time Effort) at play, besides the opening, is the fight between The Creature and Frankenstein after Williams’s death: BC over-powers, JLM out-maneuvers.

So. Is one of them “better” than the other? Totally subjective and relates to your preferences. They each embody their character from what I would call a “different category of the system”, and each actor’s choice gives us a very different Creature and story. I’ve set out why I think each actor’s choice works, and I do have a preference! I’d love to hear your thoughts on these 2 versions of the characters and production. Please leave a comment!