My goal is to find the most inventive ways to use the choreography at the service of a compelling idea. To that end, I am always looking for ways to answer certain choreographic questions: How can I distill an idea down to its kinesthetic essence? How does a dance's structure determine its “story”? How does timing effect meaning? I work to observe my world with as much acuity as possible, and to translate this understanding into my dances.

My dances in recent years have all had an abstracted narrative. I am interested in telling non-linear stories based on everyday or universal concepts. The Short-Cut looks at issues of efficiency: the tension we all feel between the need to get things done and our need for reflection time. It's All True mines the subject of memory, and how we configure our memories to suit our own sense of self. I often use text, not to tell the story but to frame it in the ways that the choreography alone cannot.

My choreography is often noted for its wit. I work with the interplay between the surprise of the humorous and its poignant flip side. Everyone acts like a real person onstage. The movement choices are determined by the needs of the piece, with dancing that is often buoyant, weighted, propulsive, and full of contrasts.

I have been very blessed to work with many extraordinary performers and collaborators. I find the ongoing, shared dialogue, both spoken and unspoken, to be tremendously stimulating, and essential to the work. It is this dynamic interchange between myself as choreographer/director, and the dancers, actors, composers, writers and designers with whom I collaborate, that brings each dance to life.