RECALL. COLLECT. CONSTRUCT
A collection of movement works by students and faculty
Program
[No. 8]
Choreographed and Performed by: The Complex Modern Dance Company - Ellie Nunes, Carolina Da Silva, Cassidy Wilson, Sophia Milardo, Olivia Andrade, Savannah Bryer, Lily Mercier, Georgia Cross
Music: Arsonists Lullaby by Hozier, I Will Wait by Mumford & Sons, Vienna by Ultravox, Fade Into You by Mazzy Star
Sound Design: Savannah Bryer and Olivia Andrade
• No.8, an original piece of contemporary movement choreographed and performed by the Complex Modern Dance Company, explores the value of the number 8. Through time, history and symbolism, the 8 senior dancers from the CPAC present what the No. 8 means to them. The dancers ask for audience participation in their fourth and final piece. As the lights dim, feel free to turn on your phone flashlight and illuminate the 8 dancers. Thank you and enjoy No.8!
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Reverence / (ˈrɛvərəns) / noun. a feeling or attitude of profound respect
Choreography by: Shannon Jutras
Performed by: Level 6 Ballet: Ellie Nunes, Carolina Da Silva, Cassidy Wilson, Sophia Milardo, Olivia Andrade, Savannah Bryer, Lily Mercier, Georgia Cross. Level 5 Ballet: Gwen Cook, Austin French, Elliot Nagy, Tianna Ortiz, Abigail Buller. Level 4 Ballet: Charlotte Totten, Addison Tyler, Rosa Wilson, Sophia MacKenzie, Hattie Patenaude, Olivia Wolchesky, Abigail Andrade, Molly Garland, Abigail Riabtsev
Music: Excerpt from Serenade for String Orchestra in C Major, Op. 48 by Pyotr Ilyich Tchaikovsky, performed by The Russian Virtuosi of Europe, Yuri Zhislin
• Révérence is the last combination in a ballet class. It is usually slow, controlled, and expressive, and is offered as a show of respect and gratitude for the teacher and musical accompanist. It can also refer to the curtsy at the end of a performance, which represents a dancer’s humble thank you to the audience.
Some of our dancers have studied ballet for years, others just a few months, but all have shared the pursuit of learning this centuries old classical art form. This piece is our interpretation of the ballet, Serenade, reimagined for students. We offer it with deep reverence for the original choreography by George Balanchine, the music composed by Pyotr Ilyich Tchaikovsky, and for each of you sharing space with us tonight.
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Snowstorm
Choreography by: Kelly Mackay
Performed by: Ellie Nunes, Carolina Da Silva, Cassidy Wilson, Sophia Milardo, Olivia Andrade, Savannah Bryer, Lily Mercier, Georgia Cross
Music: Season1 to 4 and Other Little Stories, Exio Bosso and The Buxusconsort Strings Orchestra
• Snowstorm, like family, are beautiful, sometimes chaotic, comforting and sweet, but also heavy and complex. We are reminiscing about the first snow as we become the storm.
Waiting on the Morning Sun
Choreography by: Kelly Mackay
Performed by: Ellie Nunes, Carolina Da Silva, Cassidy Wilson, Sophia Milardo, Olivia Andrade, Savannah Bryer, Lily Mercier, Georgia Cross
Music: Soldier, Fleurie & Tommee Profitt
We’ll Meet Again
Choreography by: Shannon Jutras
Performed by: Ricky Jessurun, Tiana Ortiz, Gwen Cook, Ausitin French, Abigail Buller, Elliot Nagy
Music: “We’ll Meet Again” by Benny Goodman, vocals by Peggy Lee
• Jack Heneghan, my grandfather, was a giant of a man, and our family has enough stories about “Big Boppy” to fill a whole show. In spite of his nickname he wasn’t one for a big fuss, even requesting that no formal services be held after he passed in September. This is just one little story about my Boppy, inspired by his childhood in the 1930s and 40s, and set to the music of one of the only musicians he thought was worth their salt, Benny Goodman. This piece is also - in a way - a eulogy, but one we hope will make you smile.
four six four
Choreographed by: Alex Plucenik, Sarah Andrews, in collaboration with dancers
Performed by: Level 6: Ellie Nunes, Carolina Da Silva, Cassidy Wilson, Sophia Milardo, Olivia Andrade, Savannah Bryer, Lily Mercier, Georgia Cross, Level 4: Charlotte Totten, Addison Tyler, Rosa Wilson, Sophia MacKenzie, Hattie Patenaude, Olivia Wolchesky, Abigail Andrade, Molly Garland, Level 5: Gwennan Cook, Austin French, Elliot Nagy
Music: Never Be Like you – Flume, Metanoia – Skinshape, Castle – Halsey, How It Is - Vintage Trouble, Jazzy Winter – Guustavv, Beep Street - Squarepusher
• This series of pieces is the culmination of conversations around two books; My Body by Emily Ratajkowski and The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma by Bessel Van Der Kolk, M.D.
Through difficult conversations between the choreographers as well as the dancers, we found the overlap between the two books to be very inspiring as My Body details a singular perspective based on internal struggles, while The Body Keeps the Score uncovers how the body physically reacts and changes after a traumatic event. After these conversations, we honed in on a few topics that we felt called to, and that is where this piece began. This series of works will touch on how the mind and body interact, internal vs external stimuli, deja vu, repressed memories, and equality.
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At The End of The Door
Choreography by: Nichola Johnson and selections by the Dancers
Performed by: Ellie Nunes, Carolina Da Silva, Cassidy Wilson, Sophia Milardo, Olivia Andrade, Savannah Bryer, Lily Mercier, Georgia Cross
Music: Woodkid, Ceiri Torjussen, Furture World Music, Amie Doherty
• My Father passed away on December 27, 2021. It was an end of an era. A chapter closed; life changed. This past year has been one of the hardest of my 43 years. I have been through it all – sadness, heartache, depression, anger, numbness, and guilt. Every day seemed to get harder and harder after his passing. Walking into the restaurant that he began, and I now own, was a daily struggle. Making decisions without his silent, yet so loud, opinion seemed impossible. But somehow, we come out of the darkness of grief and the days seem to get a little easier and lighter. Now when I see his image, I relax a little and feel protected. Now when I am faced with a challenge, I think about what he would do. Now I can recognize his presence. This piece was my catharsis, it circles around the door that is always closing, the metaphorical. There’s a lot more to it, but that’s for me to work through and for you to have your own responses to. This is why dance and the arts are so important. We need somewhere to put our emotions, responses, reactions, fear, etc…. If we can’t release these things, where do they end up?