arrangement of Holst’s classic in relation to the choreographic musicality as dancers created music visualizations with playful accents and unpredictable, clever partnering. The music itself, performed by Anthony Jones, Gene Alestock, Mary Lawrence, Trey L. Sorrells, and Brendan Mills successfully delivered an imaginative albeit well-informed interpretation of an iconic work.
From a choreographic stance, I was impressed by the musicality employed. When one thinks of musical choreographers, the public usually refers to artists like Mark Morris or Miro Magloire. However, the choreography used a musicality quite comparable if not superior to the former mentioned with a rhythmic awareness often lacking in DC area dance performances. While the performa
Company | E is an interdisciplinary repertory company commissioning and creating works from exciting new artists and some of the most accomplished artists in the world.
Working in traditional and non-traditional venues, with a deep commitment to live and original music, the Company presents works for both concert dance and works for the young and young at heart.
From Ohad Naharin and Paul Taylor to Kate Weare and Andrea Miller, the Company has sought out generational talent. Exceptional emerging artists like Lidia Wos of Sweden, Rachel Erdos of Israel and Arnau Perez of Spain, home grown work from Paul Gordon Emerson, Kathryn Sydell Pilkington and Robert J. Priore build a diverse canon of dances and multi-media works.
CURRENT TOURING REPERTORY - Select a tab below
“'Falling' from the choreographer Gordon Emerson, is an exquisite couple duet. The choreography is built so that the dancers disappear during the dance, into the darkness, and when they return they carry with them a new perspective on their relationship. During the first part, he is the active one and she is the melting one, falling to the floor, and later the roles are reversed."
"The Falling Man," excerpted here, was built for a cast of almost 60 dancers. A reflection on September 11, the dance was made in Astana, Kazakhstan and used dancers from the U.S. and five Central Asian nations. The full work also features choreography by Kathryn Sydell Pilkington, Delphina Parenti and Arman Bayev.
Sweden | Poland
As a choreographer Lidia Wos has a characteristic and personal style. She has a natural and organic way of creating the movements even though she often add an extra twist. Her choreographies are full of fantasy where new body angles and positions are suddenly revealed.
But her choreographies are not only about movements and steps. Lidia put a lot of attention to all details, where everything – costumes, set, props, light etc – is as important in the universe that she creates. Her creations are full off images, often with an absurd and humoristic twist.
CHECK OUT WRITER'S BLOCK - our adaptation of "WLTDO" in the French Concession.
Our 'Micro-Doc's' take you behind the scenes to the making of our repertoire. Check out our three-part series with Lidia Wos.
Arnau Perez has burst onto the Spanish contemporary scene, winning awards and competitions while still in his early 20s. He came to Company | E's world having been selected by a National Jury in Spain to teach and perform at the American Dance Festival in 2019. Mr. Pereze was Guest Artist at Company | E's 2019 Summer Dance Intensive, and set his signature trio, YOUNGBLOOD, on the Company in June of 2019.
SPAIN | UNITED KINGDOM
Thomas Noone hails from the United Kingdom but has made his home in Barcelona for over two decades. His signature athletic style mixes with a quirky, deep exploration of the natural world and the mysteries of both the soul and the environment. FEW, with an original score by ARBOL, lives inside that magical world.
This excerpt is the complete fifth and final section of the work, performed in Houston, Texas.
"One of the most talented young choreographers in the DC area."
-- Carmel Morgan, Critical Dance
Mr. Priore's evening-length work, I Never Dreamed it Could Be Like This, is inspired by the music, life and art of Leonard Bernstein. Commissioned by the Kennedy Center on the Centennial of Mr. Bernstein's birth, the work features music he wrote, the work that inspired him and his times, and, in this excerpt, his unique gifts as a conductor of Ludwig Von Beethoven.
ISRAEL | UK
The third section of Ms. Erdos's ALMA, performed March 1, 2019 at the Atlas Performing Arts Center, Washington, DC.
Rachel Erdos has been part of the Company | E family of choreographers since 2009, when she won the Company's first NEXT Commission for emerging choreographers. She's made three dances for Company | E through the years. Ms. Erdos is an award-winning, independent, British-Israeli choreographer. She is from Newcastle Upon Tyne, and has lived and worked in Tel Aviv since 2002. Rachel received her MA from The Laban Centre London, specializing in choreography.
Rachel is recipient of many awards and prizes including: 2008 First Prize in the AICC International Choreography Competition in Aarhus, Denmark; 2009 City Dance Ensemble’s commissioning project, Washington DC; 2012 Artist of the Year in the Field of Dance by The Ministry of Absorption, Israel; and 2014 NorthWest Dance Project’s Pretty Creative Commission prize, Portland USA. In 2015 Rachel was awarded the prize for Independent Choreographer of the Year by the Ministry of Culture, Israel.
The John F. Kennedy Center for the Performing Arts commissioned Company | E, for the fourth time in 24 months, to create a journey through the Solar System for its Theater for Young Audiences 2018-2019 season. On the 100th anniversary of the premiere of Gustav Holst's "THE PLANETS" the Center brought in composer arranger Eric Shimelonis to reimagine the classic orchestral work as a jazz quintet to be played live for a ten show run in March, 2019 before an audience of 3,500 young concert-goers.
Partnering with educators from NASA, and using the astonishing imagery from the remarkable journeys of man and machine in the past 50 years, Directors Paul Emerson, Kathryn Pilkington and Mr. Shimelonis created a journey through the Solar System by imagining the Kennedy Center Family Theater as a Planetarium.
Alex Neoral is currently the director and choreographer of Focus Cia De Dança, a contemporary dance company in Brazil. He began studying dance in Rio de Janeiro in 1994.
As a dancer, he has worked with Cia de Dança (Deborah Colker), Cia Nós da Dança (Regina Sauer), Grupo Tápias (Giselle Tápias) and Cia Vacilou Dançou (Carlota Portella). In addition to choreographing for his own company, Alex has been a guest choreographer for DeAnima Ballet Contemporâneo (2003 & 2005), Nina Botkay of Nederlands Dance Theater I (2003), Roberto de Oliveira (2004), Cia Nós da Dança (2006), and the Bolshoi Ballet in Joinville (2009). He also had the opportunity to choreograph the Imperatriz Leopoldinense Samba School’s performance in the 2009 Rio Carnival.
Two of his pieces, Outro lugar and Pathways, were named among the Best Top 10 Works in 2007 and 2008 by the Journal of Brazil News in Rio de Janeiro. Pathways premiered in Stuttgart, Germany in 2007 and was the piece submitted and selected as part of CityDance’s 2009 Next choreography commission.
Pathways returns to the repertory on its 10th anniversary.
Tell me about yourself: where do you live, when did you start dancing, when did you start making dances?
I am from Rio de Janeiro, Brazil and I have lived in the same city since I was born. I started dancing when I was fifteen years old, taking jazz and tap classes. In my first year of training I already realized that I had a strong desire to create. Then in a few years I started my professional career, and I started to have my own group and develop what I think about dance.
What motivates your work? What inspires you?
I love to investigate different kinds of movements: texture, velocities, sensations, images,... The music for me is very important. Now it is impossible when I listen to any music to not imagine the choreography: a piece happens on my mind instantly.
Talk about Pathways -- this dance is a part of a many year journey for you, isn't it?
Exactly. For me, it is a very important piece, because it shows all the phases of my work. Inside it I have parts of pieces that I made from 2000 until 2009. But it is nice to see that it can be one only thing, maybe because it comes from the same person. Like you see a lot of different children from the same father, but even different you can see them like a family.
What are you working on now? How do you see your work changing?
I have just finished a new piece. This piece is about the MOMENT; the moment that changes. Like in one blink your life really can be another one. In my new works I always reach something that I didn’t do in the last work. I am always looking for surprise myself. And I really believe in the movement. I think dance can be just the body moving...
What are the issues which concern you most? What are you hoping to say with your dances?
In my last piece I have realized that one thing is always present. The fact is the people are always looking for someone else. It is hard to be alone in this world. So we keep trying to find a perfect person for, and maybe you don’t find. I love to hear the impressions of my work. When someone says: in that moment I understood that you were running like a dog, for example. And maybe I didn’t think that it was a dog, and it is very funny when someone can see images that you didn’t do on purpose. And at the same time, maybe the audience can easily realize what I wanted with my piece.
What is your biggest dream?
My biggest dream is afford a better structure for my company. I would like to have a sponsor than i could work exclusively like a creator and not so much like a manager.
What do you consider your greatest accomplishment?
I think I am a happy person. I am 30 years old, I have my company with wonderful dancers, I know more than 20 countries, and I still want to do more and more. I think to keep myself alive and creating is my biggest challenge and my greatest accomplishment.
"...something any big name dance company would be proud to introduce."
--Carmel Morgan, Critical Dance
Choreographer Robert J. Priore is a founding member of Company | E, and one of the Company's main choreographic voices. The 2019 winner of The Pola Nirenska Award, Washington DC's highest honor in dance, Mr. Priore explores the joy of life and movement in his Casita -- tiny house.
The excerpt here was captured at Sidney Harman Hall in Washington, DC.
As a repertory company we have the unique opportunity to seek out talent in all the parts of the Contemporary world. Alongside great emerging talent, we've staged works by people who have been essential to defining the field.
Mr. Taylor defined the field of contemporary dance for many, including Co-Artistic Director Paul Gordon Emerson, and it was his "Last Look" in particular that set a standard for what a work of dance could be. That passion led to Company | E becoming the only company other than Mr. Taylor's own to stage "Last Look." In addition to performances in Washington, DC, the Company took the work to Israel on a six city tour, and it remains a favorite in the history of the repertoire.
Ohad Naharin is synonymous with the iconic dance coming out of Israel in the 21st Century. Mr. Naharin, who transformed Batsheva Dance Company into one of the great companies of the world, has made an enormous impact both as a choreographer and as the creator on Gaga, a technique which transformed the way Company | E dances. These two dances, which were part of the founding repertory of the Company, showcase both his technique and his artistry.
Perhaps no choreographer working today is as instantly recognizable as Israel's Sharon Eyal and her partner Guy Behar. Her signature aesthetic, the unique music of Ori Licktik, the cinematic lighting of Bambi Buono. There's a unique excitement, sensuality and intelligence in her work. Killer Pig was an unforgettable addition to Company | E's repertory.
New York's Kate Weare is one of the great choreographers of this generation. Her work is fresh, physical and sensual, layered with a remarkable sense of craft and intellect. The Company has long considered this work, which was commissioned by us, to be one of the great dances of the repertoire.
This excerpt is from its debut at the Lansburgh Theatre in Washington, DC.
Andrea Miller burst on the dance scene when she was the cover of Dance Magazine in 2011. The Juilliard graduate has built a remarkable career in an exceptionally short time, establishing herself as one of the leading talents of the new generation.
The Kennedy Center has commissioned four evening-length concerts for young audiences from Company | E - 2019's VOYAGERS, 2017's TO SAIL AROUND THE SUN, 2013's LOOKING FOR DON QUIXOTE and our longest running work, RUDYARD KIPLING'S JUNGLE BOOKS. All share in common original or adapted scores performed live, and a fresh, innovative explorations of ideas we thought we knew. All still travel the world with us.
"Educates the tiniest of patrons about the four seasons in probably the most creative way you could imagine."
-- Broadway World
"An aural and visual feast, To Sail Around the Sun is wonderfully inventive." -- Broadway World
--Jennifer Perry, Broadway World
Every year, Kennedy Center patrons can experience a slew of world class theatrical and dance productions as well as a myriad of splendid instrumental and vocal performances. Sometimes, opportunities arise to see all of these art forms in the span of sixty minutes. Such was the case this weekend, when To Sail Around the Sun made its premiere at this venerable Washington institution. Written and directed by Paul Gordon Emerson, this Kennedy Center co-commission with the Company I E dance troupe educates the tiniest of Kennedy Center patrons about the four seasons in probably the most creative way you could imagine.
At the insistence of an African woman (vocalist/actor Amikaeyla Gaston), a young girl sets off on a whirlwind journey around the world to experience all four seasons - spring, summer, autumn, and winter - before dinner time. She has an underwater adventure in Australia during the spring season, treks through the rainforest in Argentina in the summer, and then jets off to Japan just as the leaves begin to fall. Her day ends with a trip to chilly Kazakhstan as the snow falls beautifully in the mountains. At each stop, she captures the "color" of the season as directed. There's an illuminated blue ball for spring, a green ball for the summer, a red ball for the autumn, and a white ball for the winter. The wise woman in traditional clothing explains that her allweather experience was made possible because of the way our beautiful Earth circles around the sun. No matter where we live, we all experience the wonder that is the beauty of our planet.
Certainly, it's true that any young child could learn this science lesson in a classroom, but at Kennedy Center the lesson is presented in a way that also enchanted this adult. As the young girl undertakes her journey, the sound of Antonio Vivaldi's "The Four Seasons" fills the Family Theater, played by four brilliant National Symphony Orchestra musicians (Glenn Donnellan and an especially expressive Wanzhen Li on violin, Tsuna Sakamoto on viola, and Eugena Chang on cello). Whether we're in coastal Australia, the rainforest of Latin America, colorful Japan, or the mountains of Central Asia, animated designs (Sabra Design) displayed on a large screen transport us there. Dancers from Company I E, dressed all in white (costumes designed by Marija Djordjevic), fill the stage and accompany the spirited girl (portrayed by an uncredited dancer in the company) wherever she goes and interpret the musical with deliberate, passionate, mesmerizing, and perfectly matching movement. With each crescendo in the music, for example, the dancers respond accordingly.
Many of the dancers had a hand in choreographing parts of the piece along with two other choreographers and it shows because of how natural it is for the dancers to perform the steps. (As credited, Jason Garcia Ignacio did the choreography for the spring section, Robert J. Priore for the summer section, Kathryn Sydel I Pilkington for the autumn section, and Alicia Canterna for the winter section, with additional contributions from Abby Leithart, A.J. Guevara, and Arman Bayev.) The relationship between the movement and the music is quite natural.
The assistance the dancers provide to the musicians in relocating their music stands to other areas of the stage (and, in the case of the cellist, the platform on which she sits) throughout the performance exemplifies the idea of collaboration and "oneness" that underlies the entire experience. Other examples of "oneness" are also evident, including the way the dancers perform as one unit, the way the musicians perform together, and how the young girl interacts with a woman who looks very different from herself.
An aural and visual feast, To Sail Around the Sun is wonderfully inventive and will hopefully set the stage for similar multidisciplinary programming in the future. Much like Damon Woetzel's Demo series, this kind of work is what sets the center apart from other large arts venues around the country.
TO SAIL AROUND THE SUN played the Kennedy Center for four performances on March 25 and 26, 207
Few tales have the enduring power of Rudyard Kipling's classic adventure. Company |'s take brings Kipling himself into the story, alongside his real-life son, John. With Kipling as narrator and interlocutor, we wind through the Seoone Hills, through Mowgli's adoption by the Wolf Pack, his adventures with Baloo, Kaa, Shere Khan and the bandar log.
With an original score by Clifton Brockington, "Rudyard Kipling's Jungle Books" is a fresh take on a classic tale.
"The witty choreography and captivating music allowed the children to become swept into a world of curiosity and intrigue"
-- Leila Mire | Maryland Theater Guide
On the centennial of the premiere performance of Gustav Holst's "The Planets" Company | E and composer arranger Eric Shimelonis tackle a scientifically sourced artistic exploration of our Solar System. Built in an immersive multi-media environment -- designed to turn a theater into a Planetarium - - "Voyagers" followed the path of NASA's great missions and the astrological inspirations which gave rise to Holst's music to take a magical journey.
DANCE REVIEW: 'VOYAGERS: A DANCE AMONG THE PLANETS' at the Kennedy Center Family Theater
-- Leila Mire | Maryland Theater Guide
Company E, in collaboration with the Kennedy Center Theatre for Young Audiences, performed “Voyagers: A Dance Among the Planets” set to the iconic work of Gustav Holst’s “The Planets” on its 100th year performance anniversary. The piece effortlessly integrated dance, projections, and original jazz compositions to inspire young audience goers with the infinite possibilities that lie at the root of discovery.
Choreographed by Kathryn Sydell Pilkington with sections by Paul Gordon Emerson, Abby Leithart and Tara Ashley Compton’s rehearsal direction, the piece demonstrates astrological characters in each movement beginning with Mars and concluding with Neptune. Each movement imagined a distinct personality for the planet to give audiences a taste of different techniques and styles of dance; which simultaneously demonstrated the technical diversity within the company. With traces of anything from Graham technique and Gaga to classical
Emerson and Patrick Lord’s co-designed projections with lighting design by Emerson were accessible for young audiences to follow an accurate depiction of planetary movements. The dancers wore flattering costumes, designed by Marija Djordjevic, that reflected their designated role without distracting from the projections.
The performance had excellent use of space. Obviously from a scientific perspective but also in terms of stage usage. The already small stage was further confined by the live musicians who stood upstage. Nevertheless, the nine dancers never alluded to any confinement difficulties as the choreography carried them through each movement with fluidity and ease. My eye was particularly directed toward the captivating performance of Diana Amalfitano (Saturn) whose captivating phrasing and stage presence resonated on stage.
Perhaps most notable, however, was Eric Shimelonis’snce was not thought-provoking in a cerebral sense, it was catered to a young audience and satisfied my desire for strong musicality and technical proficiency.
As verified by the children’s “oohs and aahhs” the short performance successfully appealed to a family audience. The witty choreography and captivating music allowed the children to become swept into a world of curiosity and intrigue.
What if Cervantes had to come back for every performance, every adaptation and even every reference to Don Quixote? And what if we happened upon him in the middle of a 400 years long argument between he and his illegitimate daughter, Isabel -- one that turns out to be central to the great novel itself?
That's the idea that drives Company | E's "Looking for Don Quixote." Co-Artistic Director Paul Emerson was awarded a Local Dance Commission by the John F. Kennedy Center for the Performing Arts to realize this telling, made for the young and young at heart (the six puppet sheep and the 30 foot high windmill inside the Center will probably give that away).
Mr. Emerson wrote and directed this interdisciplinary work which features two actors in the roles of Cervantes and Isabel, an original score performed live by Clifton Brockington and choreography by Mr. Emerson, Kathryn Sydell Pilkington, Jason Garcia Ignacio, Robert J. Priore and Amanda Engelhardt.
Performance by: Michael Gallo - Cervantes. Karen O'Connell - Isabel. Robert J. Priore - Don Quixote. Jason Garcia Ignacio - Sancho. With Kathryn Pilkington, Amanda Englehardt and Natalia Mesa.
Looking for Don Quixote was also supported by Spain Arts and Culture.
One of the Company's favorite things is to create works tailored to and infused with the spirit of a location, an idea or a story. From a work about the age of sail on board one of the last surviving three masted schooners to the Kennedy-Khrushchev years in the entire grand Foyer of the Kennedy Center to the ancestral home of George Washington, those works form a core part of the Company's art.
"Little children joyously roamed, older adults stood still, enrapt, and vice versa."
-- Carmel Morgan, Critical Dance
The Cold War dominated world affairs for nearly 50 years. It reached, nearly simultaneously, its most dangerous and most hopeful time during the Administration of President John Fitzgerald Kennedy. The world came within hours of a nuclear confrontation in Cuba in 1962. A year later the first nuclear arms control treaty, the above ground nuclear test ban was signed. The President, and his Soviet counterpart, Nikita Sergeyevich Khrushchev, were defined by their relationship with each other despite the fact that the met only once. It is said that Secretary Khrushchev wept when hearing of President Kennedy's assassination in Dallas.
This excerpt is of the Cuban Missile Crisis section of (In)Security. The full work can be seen as well below.
(In)Security is a look at the Kennedy-Khrushchev years from both sides simultaneously. The work, commissioned by the John F. Kennedy Center for the Performing Arts for the Kennedy at 100 Centennial Celebration, used both Millennium Stages and the entire Grand Foyer -- the only time that's happened in the history of the Center -- showing the Soviet side on the South Stage and the U.S. side on the North. In between lay all the lands and conversations between the two men and their nations.
"A review of (In)Security by Carmel Morgan in Critical Dance"
"As part of JFKC: A Centennial Celebration of John F. Kennedy, DC’s own Company E performed a Kennedy Center-commissioned work titled (In)Security: Or, Jack and Nikki do the Cold War Tango. As its title suggests, the work centers on the relationship between the USSR and the United States during a critical period in American history. Uniquely, the performance was designed to take place on both the North and South Millennium Stages, simultaneously, along with dancing throughout the Kennedy Center’s Grand Foyer, and even outside. That means that the audiene had to choose what action to follow when — it was impossible to take in all of the dancing at once. And that was fine with me."
(In)Security was conceived, directed, and produced by Paul Gordon Emerson, Company E’s Co-Artistic Director (with Kathryn Pilkington). Washington dance-goers know that Emerson once worked for the U.S. Foreign Service and is committed to international diplomacy through art. He was the perfect person to lead this project, but a plethora of other artists contributed. The program notes detail the extent of collaboration: in addition to six primary choreographers,including Emerson, there was an original score by Gavin Stewart; film and media by Emerson and Aidan Katsumi Dunning; costumes by Marija Djordjevic; lighting and technical design by Ari Korb and Owen Burke; writing by Emerson, Stewart, and Olga Sunyaikina; musical performances by Michelle Fowlin (soprano) and Wanzhen Li (violinist); guest artist Sirena (an actual horse), and a bunch of other dancers. Sometimes, of course, too many cooks spoil the broth, but not here. (In)Security succeeded, in my opinion, in giving its intense subject matter sensitive treatment that sustained audience attention — a real challenge in such a sprawling space.
Watch the full concert
Presidents Kennedy and Khrushchev and their respective countrymen, at first on opposite stages, presented American and Soviet perspectives while the vast red-carpeted lobby stretched between them, a symbolic and literal gulf. Screens above the respective stages showed live video footage of what was taking place across the hall, or sometimes in the middle. The opposing figures approached and backed away and eventually physically engaged. There was a handshake, a wrestling match, poses for the camera, and even a funeral procession headed by a white horse. (Yes, you read that correctly, a white horse led a funeral march just outside the Grand Foyer).
During the work, audience members were encouraged to watch in whatever manner they wished, whether selecting a single vantage point or strolling from place to place. I walked around a lot, but paused a lot, too, taking in the dancing as I pleased. When I saw the white horse on one of the screens, I went outside. I felt drawn to walk alongside the dancers as they exited. I appreciated the freedom. Many immersive dance pieces force audience members to participate, and it can be uncomfortable. In (In)Security, however, there was no wrong way to be part of the experience. And watching fellow audience members was fun as well. Little children joyously roamed, older adults stood still, enrapt, and vice versa.
I began my viewing on the Soviet side, admiring energetic folk dancing in colorful costumes and then the more anguished dancing in dull gray dresses for the women that followed. Subsequently, I strolled to the other side, where dancers in navy blue costumes represented the United States. They later departed the stage and clustered together as they danced through the lobby, first leaning heavily to one side, then leaning backward, and finally sneaking up warily within view of the enemy. The movement was dynamic and dramatically told the story of the feelings each side possessed. Besides the dancers that started out on stage, there were dancers placed here and there throughout the audience, and when they joined in dancing, it was a nice surprise (although not too surprising, maybe, since they wore no shoes and looked, well, like dancers, most with hair swept back and strong makeup).
I thought this JFK-focused work was far more compelling than Frontier, Ethan Stiefel’s JFK inspired space ballet that I watched the previous evening. While Stiefel’s choreography didn’t really move me, the dancing in (In)Security did. I think the biggest difference in my reaction may have had to do with my proximity to the artists. My seat for Frontier was only a few rows from the back of the theater, whereas for (In)Security, I could venture much closer to the dancers. That closeness has its rewards, particularly when the dancing is as powerful as it was (In)Security. Ryan Carlough, of all the dancers, kept my attention the longest during the performance. He dances with amazing ferocity and has a bright future as a contemporary dancer.
The age of sail. Romantic, mysterious and dangerous. For much of the past 300 years the city of Sunderland was one of the largest shipbuilding centers in the world. Then, with the stroke of a pen in the mid 1980's, Margaret Thatcher, Prime Minister of the UK, brought that age to an end. To honor that bygone age, Company | E, in partnership with the Sunderland City Council and the DC Commission on the Arts and Humanities, created this site-specific work on board the Oosterschelde -- one of the last Tall Ships still plying the seas -- during a week-long sail in the Gulf of Mexico. The work that resulted is based on her history, and that of the sailors and ships of Sunderland.
This excerpt features dancer/choreographer Kathryn Sydell Pilkington and composer/musician Barry Hyde in a reflection on those left behind by the men who sailed to sea.
Company | Es first journey to England took us to the ancestral home of George Washington to create and evening length, site specific work that told the stories of the hall - and of its ghosts. Created by Paul Emerson, Gavin Stewart, Vanessa Owen, Robert J. Priore and Abby Leithart, with an original score by Mr. Stewart, Ghosts was an 1,100 year romp through the great Manor House.
This excerpt is the opening section in the Great Hall, which was, in the day, known for its dinner parties.
"The MC builds and supports whole-child learning...instilling the values of self-discipline and team building."
- Roseanna B. MC Parent 2019
The Company | E Movement Center for Dance Education teaches the next generation both the technique and the joy of movement.
"An incredible, welcoming experience."
-- Julianne K. - 2018 Student
"...exactly the kind of work we had imagined when creating the Performances for Young Audiences series, elegantly combining multiple art forms including modern dance, classical music, storytelling, visual arts, and theater."
-- David Kilpatrick, Director, Education Programs and Productions. The John F. Kennedy Center for the Performing Arts.