| Q |
Briefly describe your background/training. |
| A |
I studied dance as a child in Pittsburgh, got a BS and MA from Northwestern University and continued my dance studies in New York in the 1990's with Tere O'Connor, Simon Forti, John Jaspers, Bill T. Jones, Cathy Ward, Susan Rethorst and other New York artists. |
| Q |
How old were you when you knew you wanted to be an artist? |
| A |
When I was 9 years old I choreographed "Rhapsody In Blue" for all the kids in my neighborhood because one girl on our block could do a great back bend to the opening horn solo. I didn't know what it was called, but I knew it was what I wanted to do. |
| Q |
Who is your greatest professional inspiration and why? |
| A |
Wendy Woodson is probably my greatest professional inspiration. I was lucky to cross paths with her when she lived in Washington. She is now on the faculty at Amhurst College. Her original work that interfaces theater and dance has always blown me away and has been a great inspiration to me. Maida Withers has also been an inspiration for her powerful work and for her artistic courage. |
| Q |
How do you manage wearing different 'hats' as a self-producing artist? What are your strengths? What are your weaknesses? |
| A |
I seem to be able to multi-task and plan ahead and I'm able to work pretty well with many different people. I hate "selling" my work to others and could do a better job getting it out to the world. |
| Q |
As a self-producing artist, what qualities make for a good show idea in your opinion, and what is typically your first step in realizing your artistic vision? |
| A |
I believe a good show idea is anything that I become interested in or curious about. Sometimes these idea come sideways out of the corner of my eye. My first step is to gather a group of performers who touch my heart and begin a collaborative exploration (with them) of visual, verbal and kinetic images that present themselves to us. |
| Q |
How much material do you prepare for a show, and what percentage of it typically makes it into the final performance? |
| A |
Sometimes I throw out whole dances. I often develop about 1/3 more material than is used in the final work. I tend to do a rough draft first and then edit. Deciding the structure seems to give me important information about the work.
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| Q |
Speaking as a spectator, what do you look for in performance? |
| A |
It's better to go to a performance not "looking for anything". Powerful theatrical work is a mystery. |
| Q |
What makes your work unique? |
| A |
I can't really say what make my work unique. Only others can comment on this question. My goal is to find intention, language and kinetic image for the final work from the body in motion. |
| Q |
What does 'success' mean to you? |
| A |
For me "success" means actualizing my artistic vision. |
| Q |
Why are you doing the Capital Fringe Festival? |
| A |
The Capital Fringe Festival supports artistic experimentation and includes both dance and theater work presented in the heart of Washington, DC. These things are very important to me. |
