Blog
Larry Elkin of Palisades Hudson and I have been talking about recording this podcast for awhile, and we finally did it!
In this episode of “Something Personal” Larry and I, with host Amy, talk about the “what” and “how”, as well as the Florida-particular “where” of working as an Intimacy Coordinator and Intimacy Director.
There are also shout-outs to Thinking Cap Theatre’s “Lizzie” and “Cymbeline”, my big fall projects.
I’ve been thinking a lot about collaboration and how that works in choreography.
I’ve had the pleasure of working with professional choreographers for both theatre and concert dance, and of being a choreographer for both theatre and concert dance.
Often, the idea of a “choreographer” is one who comes in, with the dance fully envisioned, and ready to teach it to the willing dancers, who take it on and become vessels of the “the art.” This is choreographer as a top-down role; perhaps a teacher or a creator, but definitely NOT a collaborator.
Collaboration can only happen in the room, with the people involved. If I come in already knowing all the answers or “the way” to do it, I’m not collaborating. Collaborating is about finding out what other possibilities exist, that we never could have imagined on our own.
There are times I absolutely do “set” choreography- most often this occurs when the ensemble has to be in unison together. Creating and then teaching choreography is the most efficient way to ensure that everyone is doing the same thing, in the same way. Setting choreography can also be really supportive of a performer who maybe doesn’t identify as a “dancer,” or a “strong dancer.”
But a lot of times, I co-create choreography.
With the KINesphere dances, which I’ve received grant funding for 3 times in the past 5 years (every time I’ve requested it, to be clear), the process is extremely co-creative. I come in with ideas. The dancer begins moving those ideas. We find new movement based on HOW they move the phrase, or what’s interesting to them in the phrase, or the setting, or the weather, or a movement they brought with them.
With musical theatre pieces, I include a lot of “character moments.” In ensemble numbers, that might be me “setting” choreography, and then coming to a certain part of the song and saying “make a pose for your character in this moment” or “how would your character leave the stage?” Or, especially for solos, it might be me giving “landmarks”— for example, “on this word do this, and for this chorus do this”— but leaving the rest of the number open for acting choices.
In a really condensed rehearsal process, this way of working would be difficult, if not impossible. In large ensemble shows, the same is true. And, that’s probably one of the reasons I don’t get asked to choreograph a lot of musicals. People know that my way of working wouldn’t fit those scenarios well.
And there’s nothing wrong with that. I love the way I work. I love finding moments I never would have discovered or created on my own. And my choreographic style is my own, and maybe different than folks are used to encountering. But that doesn’t make it wrong, or bad, or even less rigorous or technical than setting choreography.
Perhaps it is even more rigorous, because working with me requires you to come ready to share, rather than be filled. Working with me asks that you know your body and can make embodied choices. Or at least be open to all of those things.
So, I’m thinking about trading in the title “choreographer,” and going with “movement co-creator,” or something…..
I am so honored to be receiving my 3rd Silver Palm- this time for choreography and performance of “The Dark” in The Impossible Task of Today at TheatreLab. I haven’t been on stage in nearly a decade, so to have this performance recognized is really lovely.
Here’s what the judges had to say:
I think the Silver Palms are so special in our community, because the judges can truly pick anything and anyone to award. So to be chosen as one of those somethings and someones is very meaningful. I am grateful. And, I would be so silly to not take this opportunity to thank the folks who helped me create “The Dark”.
I am incredibly grateful for Matt Stabile and Iain Batchelor, who helped me create this role. Iain, who played Jack, was my constant companion, inspiration, foil, and playmate. For Matt to give me an opportunity not only to create, to but perform, was such an unexpected gift, and I hope I fulfilled his visions of “The Dark.” And, of course, Jeff Bower, who wrote Impossible Task, gave me such a gift and challenge in this cinematic character.
I know “The Dark” only achieved its effect because of the set design of Michael McClain, the lighting design of George Horrocks, and the sound design of Matt Corey. I mean, I had my own theme song, I came out of walls, and lights changed color as I moved. It was truly beautiful staging.
Then there was the incredible costume designed by Chelsea Tuffy that was so spooky, and added to the story (while giving me fun challenges like vision… jk. I could see.). And special thanks Tim Bowman, who literally had to dress and undress me and make sure I could see.
TheatreLab consistently has the best team of collaborators, and is one of my favorite places to work. The environment Matt, Cassie, Jill, Rose, Zoe, and Aubrey have created there is great.
And, Vaishnavi, Kailynn, and Anthony- you are just the best. The best. I’m so glad I got to play with you.
I’m excited to on the list of the top Intimacy Coordination blogs on the internet! And in some great company!
Want to know more about being an Intimacy Coordinator? Check out the FREE FAQ sheet!
This new, silly, campy show produced by Latiné Theater Lab is playing through Sept. 27 in Fort Lauderdale!
Check out our first review- that even mentions the Intimacy Director!
And another rave (and discussion of intimacy!).
See the Events page for ticket info.
Photo by Alex Gonozalez. Featuring L to R: Samuel Krogh, Wendy Chamorro, and Ryan Towsend.
A few weeks ago, a book/cosplay event took a dark turn when 2 performer guests were harassed/followed/dare we say assaulted by attendees. The podcast “Mind of Sai Marie” with seasoned event professional and writer Sai Marie, did an episode on the importance of consent in public spaces, that really piqued my interest. I reached out to Sai Marie to thank her for sharing this story, and to see if she would like to have a conversation about consent and boundaries. And she agreed!
So here is our conversation about consent and boundaries, especially when the “traditional social contract” is altered.
I am especially honored to be mentioned by name, with several citations and with the words, "Perry has taken a particularly leading role..."in this article in the latest issue of the Journal of Dance Education. Thank you. Being seen in this way means so much.
Also glad to see Intimacy Direction in Dance included and to be alongside my colleagues Rocío Mendez, Adi Cabral, and Brooke M. Haney.
The article is available to NDEO members or if your institution has access to Taylor and Francis journals here.
Choreographers and dancers should not be subject to unauthorized, uncompensated scraping by AI to train. We're working on protecting intellectual property and increasing the creating agency of artists.
Visit dancers.ai to see it!
Read MoreJoin me as I get to return to one of my favorite podcasts, “Beyond the Steps” with Apolla Performance, as Melissa and Bri and I talk about really practical tips for taking care of your needs and boundaries if you are an actor or dancer on set.
The Special Issue of the Journal of Dance Education features my “In-Practice” article “Assessments of Care” regarding consent-forward and trauma-informed grading practices in the dance classroom. A free e-copy is available when you use this link (limited to the first 50 uses). I’d love to know your thoughts when you read it!
Also, I have turned in my manuscript! Look for more pedagogic tools for dance and movement coming your way in 2026 in this new book! Stay tuned for updates as I move through the final stages of the editing process.
Mud is such an iconic play of abstract, theatrical, modern work. It was my pleasure to create the intimacy and violence for this inaugural performance of the new Latiné Theater Lab in South Florida!
Check out our review here.
A few production photos are also up on my Work Samples page!
Where to even begin this post of gratitude for “The Impossible Task of Today”….
Thank you, Jeff, for this story. Thank you, Matt, for trusting me with the Dark. I watched audiences cry, gasp, hold each other, sit in stunned silence as they spent 95 minutes in Jack’s grief. I am so honored to have been part of both the creative team and the cast that put this nearly-impossible task on the stage. Thank you both for your vision, direction, collaboration that helped me hold the nuances of protection.
Matt Corey and Chelsea Tuffy- thank you for being such amazing artists who made the Dark so much more with your sound and costume designs. You work brought so much more to mine and I am grateful.
George- one of my favorite onstage moments is when the Dark walks between Jack and Val and the lights go to red one by one as it passes by. A thrill every night to watch that tech transform the story.
Grace- thank you for being such a professional and caring ID, creating beautiful moments, and giving me this opportunity to take a different role.
Rose and Tim- it was so fun to get to be with you as an actor. Your support and professionalism are unmatched.
And the cast. Wow. Iain, Vaishnavi, Kaelyn, and Anthony, I am so, so grateful for your friendship, your fun, your absolutely every night stunning performances that I got to witness. You are all incredible actors and humans and brilliant, vulnerable performers. I could not be more humbled than by sharing the stage with you all.
Iain, special thanks for your collaboration. It was so fun to move and create with you.
And the entire TheatreLab team- Thank you for the amazing work you do. I always love playing with you.
I have been thrilled to be back onstage as an actor for the first time in a handful of years as The Dark in “The Impossible Task of Today” at TheatreLab. In addition to embodying this role, I created the choreography for the play, which is really 90 minutes of movement for The Dark!
I have to offer thanks and respect to scene partner Iain Batchelor, Director Matt Stabile, and playwright Jeff Bower, who also had invaluable movement input.
The play has been really well-received by the community and we’ve gotten some great reviews, too!
The New Pelican 4/14/25
I was honored to be a source for a Yahoo! News article examining how Intimacy Coordinators are utilized in Hollywood. Read it here.
I was honored to be the movement director (handling intimacy, fights, and dance) for All the Natalie Portmans at Thinking Cap Theatre. Check out the production’s review in South Florida Theater Magazine here.
My dear friend and past theatre colleague Rebecca Vickers has a podcast called “Bad Bosses, Great Leaders” and she interviews leaders from a variety of industries to offer their insights and advice on what makes a leader, not just a boss.
Rebecca and I talked about psychological safety- what it is, how to create it and why it’s important.
Check out “Psychological Safety, Vulnerability, and Encouraging Creative Leadership” now here, or wherever you get your podcasts!
Dance Magazine offers some perspectives and advice with their new article, featuring some words of wisdom from me.
My favorite: Keeping things professional is essential, even in a workplace that emphasizes expressivity. “We’re constantly tapping into our emotions to tell a story,” Perry says. “That mindset of ‘I’m at work now’ is really important.
Here’s an interview with me talking about some important things to consider when learning to become an Intimacy Professional.
Check out my interview with Bold Journey about the skills of an Intimacy Professional.
Join us at IPEC (the Intimacy Professionals Education Collective ) for 3 learning and/or accreditation in tracks:
Intimacy Coordinator
Intimacy Director
Intimacy Educator
Our Section 1 courses are now available! Look for Section 2 coming in February, and Sections 3-5 coming soon!
Have questions? Use the contact page on IPEC’s website or on this website, as I am one of the teachers!
Nicole LaBonde- Transformation Coaching of Mind and Body, Pilates, Nutritional Cleansing
CABARRET- Barre and Dance Fitness
Public Persona- Professional Image Coaching for Public Speaking and/or Online Branding for Fitness Instructors, Life Coaches, Healers and other Heart-Centered Entrepreneurs.
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