2025 in Review- Podcasts and Articles

Everything I wrote, was interviewed for, or was cited in in 2025 (that I know of, anyway) is linked on my Linktree! There are pieces there for dance, for theatre, and for film, about being a dance educator and an intimacy coordinator /intimacy director

2026 will be full (hopefully) of pieces about my book, so stay tuned for more links!

New Podcast Episode about Consent and Trauma-Informed Pedagogy in Dance

I am back on Beyond the Steps all December long talking about consent in dance education and dance performance.

Episode 1 is up on Facebook and will be coming to the the YouTube channel soon.

Episode 2 on YouTube

Episode 3 on YouTube

Being a Choreographer

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…..

Silver Palm Award Gratitude

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:

Performance and choreography in The Impossible Task of Today at Theatre Lab. Nicole Perry played The Dark, a shadowy figure who haunts, comforts, and tortures the main character, a man who lost his wife in a mass shooting. Her beautiful, choreographed dance performance was undeniably one of the most riveting in recent years, giving soul and depth to a flawless production.

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.

"Integrating Consent Practices in Dance Education"

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.

Podcast: Tips for Actors and Dancers on Set

Join 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.

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