

CLICK THE TITLE OF WORK FOR FULL PROGRAM AND CASTING INFO
OPENING NIGHT GALA
CLYTEMNESTRA ACT 2
by Martha Graham
CORTEGE
by Baye & Asa
WORLD PREMIERE
CLYTEMNESTRA ACT 2
Choreography by Martha Graham
Music by Halim El-Dabh†
Set by Isamu Noguchi
Original costumes by Martha Graham and Helen McGehee
Original lighting by Jean Rosenthal, adapted by Beverly Emmons
Premiere: April 1, 1958, Adelphi Theater, New York City
Clytemnestra
So Young An (4/1, 4/4, 4/12)
Leslie Andrea Williams (4/2, 4/10)
Agamemnon’s Ghost
Jai Perez
Orestes
Lloyd Knight (4/1, 4/4, 4/12)
Richard Villaverde (4/2, 4/10)
Electra
Laurel Dalley Smith (4/2, 4/10)
Xin Ying (4/1, 4/4, 4/12)
Aegisthus
Antonio Leone
The Furies
Meagan King, Devin Loh, Amanda Moreira
†Used by arrangement with C.F. Peters Corporation, publisher and copyright owner.
Clytemnestra Act 2 is the culminating act of Martha Graham’s Clytemnestra, her only full-evening work. Upon its premiere, New York Times critic John Martin called Clytemnestra a work of “giant stature.” Inspired by Aeschylus’ famous trilogy, the Oresteia, Graham’s version recounts events from the perspective of Clytemnestra, the vengeful queen of Mycenae. In Act 1, Clytemnestra murders her husband, King Agamemnon, in revenge for his slaughter of their daughter, Iphigenia, as a sacrifice to the gods. Act 2 opens with Clytemnestra’s nightmare. She is haunted by Agamemnon’s Ghost and dreams of being trapped in the blood of the family curse. We see her vengeful daughter, Electra, driven by the Furies and determined to avenge Agamemnon’s death. The Ghost and Electra spur Clytemnestra’s son, Orestes, to the murder of his mother and her lover, Aegisthus.
CORTEGE
Choreography by Baye & Asa
Costume Design by Caleb Krieg
Lighting Design by Yi-Chung Chen
Music by Jack Grabow†
World Premiere: April 18, 2023, The Joyce Theater, New York City
Laurel Dalley Smith
Zachary Jeppsen-Toy
Lloyd Knight
Jai Perez
Anne Souder
Richard Villaverde
Leslie Andrea Williams
Xin Ying
Cortege 2023 was made possible with a significant commissioning grant from The O’Donnell-Green Music and Dance Foundation. Major support for Cortege 2023 was provided by Christopher Jones.
Production support provided by Jorgensen Center for the Performing Arts at the University of Connecticut.
†Baye & Asa are inspired by Martha Graham’s Cortege of Eagles to consider groups under attack in our time. Jack Grabow’ score reflects themes from Eugene Lester’s original score for the Graham work.
Drawing inspiration from Martha Graham’s Cortege of Eagles, Baye & Asa focus on Charon, the ferryman who shepherds souls to the underworld. In Graham’s work, the Trojan Empire is crumbling, and Charon is the conductor of its inevitable fall. Baye & Asa’s Cortege removes this central figure of mythological predestination, and instead places the burden of fate on the ensemble.
Together, they generate the cyclical momentum of war.
PROGRAM A
CLYTEMNESTRA ACT 2
by Martha Graham
CORTEGE
by Baye & Asa
WORLD PREMIERE
LETTER TO NOBODY
by Xin Ying
WORLD PREMIERE
CAVE
by Hofesh Shechter
CAVE
Choreography by Hofesh Shechter
Creative Producer Daniil Simkin
Music by Âme† and Hofesh Shechter
Costumes by Caleb Krieg
Lighting by Yi-Chung Chen
Choreography Assistant Kim Kohlmann
World Premiere: April 6th, 2022, New York City Center
So Young An
Ane Arrieta
Laurel Dalley Smith
Zachary Jeppsen-Toy
Meagan King
Lloyd Knight
Antonio Leone
Devin Loh
Amanda Moreira
Jai Perez
Anne Souder
Richard Villaverde
Leslie Andrea Williams
Xin Ying
CAVE was made possible with a significant commissioning grant from The O’Donnell-GreenMusic and Dance Foundation.
Major support for CAVE was provided by Sharon Patrick, the Clayton-Royer Family Fund, MonicaVoldstad and Jeff & Susan Campbelland Barbara Goldstein.
Production support was provided by Vassar College.
Co-Producing support provided by Studio Simkin and Sharing Spaces.
†Samples of „Fiori” by Âme; Sample of “The Witness” by Âme & Karyyn. Frank Wiedemann and Kristian Beyer are members of the German collecting society GEMA and published by Innervisions GmbH.
In 2022, the versatile artist Hofesh Shechter created this work for and with our Company dancers while searching for the essence that makes crowds of people move (dance) together in a deeply primal and connected way. In CAVE, this essence is rendered so powerfully that it reaches beyond the dancing onstage to include and inspire our audiences. The result is a visceral, cathartic movement experience with an inescapable shared kinetic energy.
LETTER TO NOBODY
Created by Xin Ying
Choreography by Xin Ying, Mimi Yin
Soundscape by Mimi Yin, Chris Celiz and Gene Shinozaki as SPIDERHORSE
Lighting by Yi-Chung Chen
Costume by Karen Young
Creative Technology by Yuguang Zhang with NUUM Collective
World Premiere April 2, 2025, The Joyce Theater, New York City
Xin Ying
I’m Nobody! Who are you?
Are you – Nobody – too?
Then there’s a pair of us!
– Emily Dickinson
Produced with support from Martha Graham Dance Company, NYU Tisch Dance, The O’Donnell-Green Music and Dance Foundation, Harkness Foundation for Dance, and GoFund Me contributors
Archival footage courtesy of the Martha Graham Dance Company all rights reserved
Letter to Nobody is a love letter to Martha Graham whose influence reaches beyond her physical existence; it is also a love letter to the artists who will never be known by Graham herself but who carry her legacy into the future.
Conceived and created by Xin Ying and Mimi Yin, Letter to Nobody explores generative media approaches, including emerging AI technologies, to extract data from archival footage and bring Martha Graham back to the stage to perform a duet with Xin Ying.
Based on the Graham masterwork from 1940, Letter to the World, the new duet takes inspiration from a poem by Emily Dickinson, “I’m Nobody! Who are you? Are you – Nobody – too? Then there’s a pair of us!” The manipulated footage of a 1940s performance featuring Graham alongside notable company members including Eric Hawkins and Merce Cunningham provides a potent partner for Xin’s solo.
Through this new duet the artist asks, In this 100th year of the Martha Graham Dance Company, what does it mean to carry on Graham’s legacy? What privileges and burdens come along with such a charge? As performers, students, and audience members, how do we continue to embody Martha and engage in dialogue with the world around us, a world she never knew?
PROGRAM B
FRONTIER
by Martha Graham
RODEO
by Agnes de Mille
REVOLT and IMMIGRANT
by Virginie Mécène after Martha Graham
WE THE PEOPLE
by Jamar Roberts
FRONTIER
Choreography and Costume by Martha Graham
Music by Louis Horst
Set by Isamu Noguchi
Original Lighting by Jean Rosenthal
Adapted by Beverly Emmons
Premiere: April 28, 1935, Guild Theater, New York City
Ane Arrieta (4/6 mat, 4/9)
Anne Souder (4/3, 4/13 eve)
Frontier, subtitled “American Perspective of the Plains,” is a tribute to the vision and independence of the pioneer woman. It portrays her strength and tenderness, her determination and jubilation at overcoming the hazards of a new land, as well as her love of the land. The movement, completely one with the décor’s widening horizon, evokes the feeling of distance, loneliness, and courage.
RODEO
or
The Courting at Burnt Ranch
Choreography by Agnes de Mille
Music by Aaron Copland†
Bluegrass Arrangement by Gabriel Witcher
Scenery by Beowulf Boritt
Costume Design by Oana Botez
Lighting Design by Yi-Chung Chen
Staged by Diana Gonzalez
Tap Solo Choreography by Dirk Lumbard
Rodeo was first performed by the Ballet Russe de Monte Carlo on October 16, 1942 at the old Metropolitan Opera House in New York City.
“This is not an epic, nor the story of pioneer conquest. It builds no empires. It is a pastorale, a lyric joke. But one must be always conscious of the enormous land on which these people live and their proud loneliness. The action takes place on a Saturday afternoon and evening on a ranch in the southwest.” – Agnes de Mille, from her original Rodeo scenario
Scene I
Rodeo: Saturday Afternoon – The Corral
Interlude: Retrospect
Scene II
Saturday Night Dance
The Cowgirl
Laurel Dalley Smith
The Champion Roper
Richard Villaverde
The Head Wrangler
Lloyd Knight
The Ranch Owner’s Daughter
So Young An (4/3, 4/6 mat, 4/12 mat)
Leslie Andrea Williams (4/9, 4/13 eve)
Her Eastern Friends from Kansas City
So Young An, Amanda Moreira, Anne Souder, Leslie Andrea Williams
Square Dance Caller
Lloyd Knight (4/9, 4/13 eve)
Leslie Andrea Williams (4/3, 4/6 mat, 4/12 mat)
Cowhands
Zachary Jeppsen-Toy, Rayan Lecurieux-Durival, Antonio Leone, Ethan Palma, Jai Perez, Matthew Spangler
Womenfolk
Ane Arrieta, Meagan King, Devin Loh
This production was made possible by the Martha Graham Dance Company and was presented with the cooperation of The de Mille Working Group, Anderson Ferrell, Director.
This production of Rodeo was commissioned by Tee Scatuorchio and Michael Becker. The production was also made possible with significant co-commission support from the Annenberg Foundation, The Younes and Soraya Nazarian Center for the Performing Arts and the California State University of Northridge, and the 92nd Street Y, as part of 92NY’s 150th anniversary celebration, in honor and continued support of Martha Graham’s rich 92NY legacy.
†Rodeo by Aaron Copland © 1942 The Aaron Copland Fund for Music, Inc. Copyright renewed. This arrangement © 2023 The Aaron Copland Fund for Music, Inc. By permission of Boosey & Hawkes, Sole Licensee.
All the elements of our new production of Agnes de Mille‘s Rodeo are designed to broaden the conversation about this iconic work of Americana while remaining true to de Mille’s humorous and heartfelt story about a young, independent misfit searching for love. The new dreamlike costumes by Oana Botez suggest a fond remembrance of time and place rather than the actuality. They invite us into an intimate sense of community while the digital art of Beowulf Boritt’s stage design calls up the vastness of the American southwest. Gabe Witcher’s new Bluegrass arrangement of the entire Copland score is a first and in a sense, returns the cowboy tunes borrowed by Copland for Rodeo to their roots. As part of GRAHAM100, the three-season celebration of the Graham Company’s 100th anniversary, we are interested in reframing iconic works of the 20th Century in ways that expand our views of that time and offer a more inclusive history. We hope our new production of Rodeo, which also features the most diverse cast to have ever performed the work, will resonate with today’s conversations about gender and inclusion while celebrating Agnes’s timeless and timely story about a young person, who feels unable to fit in, finding community on their own terms through dance. –Janet Eilber
WE THE PEOPLE
Choreography by Jamar Roberts
Music by Rhiannon Giddens
Arranged by Gabe Witcher
Costume Design by Karen Young
Lighting Design by Yi-Chung Chen
So Young An
Ane Arrieta
Laurel Dalley Smith
Zachary Jeppsen-Toy
Laurel Dalley Smith
Meagan King
Lloyd Knight
Ethan Palma
Jai Perez
Anne Souder
Richard Villaverde
Leslie Andrea Williams
We the People was made possible with a significant commissioning grant from The O’Donnell-Green Music and Dance Foundation.
This production was also made possible by the 92nd Street Y, as part of 92NY’s 150th anniversary celebration, in honor and continued support of Martha Graham’s rich 92NY legacy.
Production support was provided by University of Michigan.
Premiered in February 2024, this dance of 21st Century Americana references and reverberates with our history. Its new score by Rhiannon Giddens, as arranged by Gabe Witcher, offers the historic sound of American folk music. While the choreography by Jamar Roberts is very much of today and in counterpoint to the music. The choreographer has said, “We the People is equal parts protest and lament, speculating on the ways in which America does not always live up to its promise. Against the backdrop of traditional American music, We the People hopes to serve as a reminder that the power for collective change belongs to the people.”
REVOLT and IMMIGRANT
REVOLT
Choreography by Virginie Mécène
Inspired by Martha Graham’s lost solo Revolt (1927)
Music by Arthur Honegger
Costume by Karen Young*
Leslie Andrea Williams
STRIKE FROM IMMIGRANT
Choreography by Virginie Mécène
Inspired by Martha Graham’s lost solo STRIKE from IMMIGRANT (1928)
Music from Adventure on Mt. Hehuan by Judith Shatin
Performance by I-Jen Fang (bass drum) & Shatin (electronics)
Costume by Karen Young*
Xin Ying
*Costumes recreated from photographs by Sochi Sunami.
There are no traces of Martha Graham’s original choreography of Revolt and Immigrant which comprises two sections, Steerage and Strike, except for a couple of pictures by Sochi Sunami. Virginie Mécène’s choreographic version of Revolt and Immigrant was inspired by the photographs and research about Martha Graham’s early career, made possible through a Fellowship Award from the Jerome Robbins Dance Division, the New York Public Library for the Performing Arts.
Martha Graham’s choreography for the solos Revolt (1927) and Immigrant (1928) is considered to be lost. The dances were never filmed and there is very little archival material on their subject.
The present versions of Revolt and Immigrant, created by Virginie Mécène are new interpretations of the subject matter born out of Ms. Mécène’s own deep knowledge of the Graham oeuvre. She took inspiration from a few photographs by Sochi Sunami and archival writings on Martha Graham’s early career, which she meticulously researched through a 2023/24 Fellowship Award from the New York Public Library for the Performing Arts, Jerome Robbins Division.
A single gesture for each dance sparked these interpretations, excavating movement from within, similar to Ms. Graham’s process. This approach has allowed for the creation of dances faithful to the genre of Martha Graham’s expression while staying true to the contemporary choreographer’s voice.
“I choreographed these works based on their relevance to today’s social and political climate. I wanted to give them new life through my own choreographic interpretation while staying close to Martha Graham’s genre of expression. For Revolt, I chose to keep the spacing almost static, as described in a review of the dance. For Immigrant, I imagined a long diagonal from upstage left to downstage right where the character progresses toward her goal. There are references to memories of her past, such as the journey to a new place, and the scar of leaving people behind, wanting to go back but being determined to fight and go forward. The diagonal symbolizes the journey of an immigrant and the determination of a striker’s future.” – Virginie Mécène
PROGRAM C
DEATHS AND ENTRANCES
by Martha Graham
ERRAND INTO THE MAZE
by Martha Graham
CAVE
by Hofesh Shechter
(4/5, 4/6, and 4/13)
CORTEGE
by Baye & Asa
(4/8 and 4/11)
DEATHS AND ENTRANCES
horeography by Martha Graham
Music by Hunter Johnson Set by Arch Lauterer
Costumes by Oscar de la Renta and Halston
Lighting by Judith M. Daitsman
Premiere: July 18, 1943, Bennington College, Bennington, VT
The Three Sisters
Xin Ying with Ane Arrieta, So Young An (4/5 eve, 4/8)
Anne Souder with Leslie Andrea Williams, Laurel Dalley Smith (4/6 eve, 4/11, 4/13 mat)
The Three Remembered Children
Meagan King, Devin Loh, Amanda Moreira
The Dark Beloved
Lloyd Knight
The Poetic Beloved
Richard Villaverde
The Cavaliers
Ethan Palma, Jai Perez
The title is a line from a poem by Dylan Thomas.
The action takes place in a room and the halls of an ancient house. There are three sisters “doom eager” as the three Brontë sisters were “doom eager” to fulfill their destiny.
It concerns the restless pacings of the heart on some winter evening. There are remembrances of childhood, certain dramatizations of well-known objects, dreams of romance, hatreds bred of longings and madness. It is “imagination kindled at antique fires”. There are “Deaths and Entrances” of hopes, fears, remembrances, drams, and there is ultimate vision. This is essentially a legend of poetic experience rather than a story of incident. In the life of the heart there are invisible actors and “Deaths and Entrances” with no barriers of period or time. Rather, there is a suspension of time, and subsequent intensification of experience at the sight of some simple remembered object: a shell, a glass goblet, a vase.
Deaths and Entrances was previewed at Bennington College in the summer of 1943 and premiered in New York in December of that year. The country was at war, and Graham was grappling with questions of faith and despair. In a letter to David Zellmer, a Company member serving in the Air Force at the time, she wrote, “There are so many little deaths, those moments of doubt, loneliness, fear . . . moments when one ceases to be for a short time. Then there is the entrance again into the real world of energy that is the source of life, that is the immortality.” Graham was obsessed with her new work. She had been through a year of change, and of fear, afraid that her creative impulses were dried up, “that the wild thing was gone out of her heart,” as she put it.
Set to a score by Hunter Johnson, with sets and lighting by Arch Lauterer, Deaths and Entrances was inspired by the lives of the three Brontë sisters (originally Sophie Maslow, Jane Dudley and Graham herself) and the struggle of women to follow their deepest impulses in the face of convention and tradition. “The dancing is some of the most articulate and significant I have done,” she wrote Zellmer. Audiences, however, found the work mysterious. “The public seems baffled,” Graham observed, “but moved in some way they do not understand.” In the New York Times John Martin wrote “at first seeing it is perfectly safe to say that not a single spectator can honestly report that he knows what the work is all about, though he must acknowledge that it is gripping and emotionally moving.” Objects in the dance have mysterious resonance; a shell, a goblet, a vase, inspire memories of past experience and create a stage for the sisters to revisit childhood memories, imagined lovers. The dance follows its own subconscious logic. Questioned about why she choreographed a sequence of falls while dressed in evening clothes, Graham posed her own question. “Haven’t you ever been in a room where someone you loved, who no longer loved you, walked in, and your heart fell to the floor?”
The brooding, restless quality of the work, and its concerns with the female experience continue to move audiences, “slipping in through the sensory perceptions without ever touching on the accustomed areas on intellection,” as Martin observed long ago.
ERRAND INTO THE MAZE
Choreography and Costumes by Martha Graham
Music by Gian Carlo Menotti†
Set by Isamu Noguchi
Original lighting by Jean Rosenthal
Adapted by Beverly Emmons
Premiere: February 28, 1947, Ziegfeld Theatre, New York City
There is an errand into the maze of the heart’s darkness in order to face and do battle with the Creature of Fear. There is the accomplishment of the errand, the instant of triumph, and the emergence from the dark.
So Young An, Antonio Leone (4/8, 4/11)
Laurel Dalley Smith, Zachary Jeppsen-Toy (4/5, 4/13)
Xin Ying, Ethan Palma (4/6)
†Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
Errand Into the Maze premiered in 1947 at the Ziegfeld Theater in New York City. With a score by Gian Carlo Menotti, and set design by Isamu Noguchi, the dance was choreographed as a duet for Martha Graham and Mark Ryder. It is loosely derived from the myth of Theseus, who journeys into the labyrinth to confront the Minotaur, a creature who is half man and half beast. Substituting a heroine for the hero of Greek mythology in her dance, Martha Graham created a female protagonist who would confront the beast of fear, not just once, but three times, before finally overpowering him. Noguchi designed a set that consisted of a v-shaped frame, like the crotch of a tree or the pelvic bones of a woman. A long rope curves its way through the performance space and ends at this symbolic doorway. Influenced by the theories of the great psychologist Carl Jung, Martha Graham was exploring the mythological journey into the self in this dance. —ELLEN GRAFF

ARTISTIC DIRECTOR
Janet Eilber
EXECUTIVE DIRECTOR
LaRue Allen
THE COMPANY
Lloyd Knight
Xin Ying
Leslie Andrea Williams
Anne Souder
Laurel Dalley Smith
So Young An
Richard Villaverde
Devin Loh
Antonio Leone
Meagan King
Ane Arrieta
Zachary Jeppsen
Amanda Moreira
Jai Perez
Ethan Palma
Matthew Spangler
Rayan Lecurieux-Durival
Major support for the Martha Graham Dance Company is provided by
Howard Gilman Foundation
New York City Department of Cultural Affairs in partnership with the New York City Council
New York State Council on the Arts with the support of the New York State Legislature
National Endowment for the Arts
The Artists employed in this production are members of the American Guild of Musical Artists AFL-CIO.
In the tradition of its founder, the Martha Graham Center of Contemporary Dance remains committed to being a diverse, equitable, inclusive, and anti-racist organization, and will honor this pledge through its ongoing practices, policies and behaviors.
Copyright to all Martha Graham dances presented held by the Martha Graham Center of Contemporary Dance, Inc.
All rights reserved.
“All that is important is this one moment in movement. Make the moment important, vital, and worth living. Do not let it slip away unnoticed and unused.”
– Martha Graham
GRAHAM ARTISTS

Martha Graham
Martha Graham
MARTHA GRAHAM has had a deep and lasting impact on American art and culture. She single-handedly defined contemporary dance as a uniquely American art form, which the nation has in turn shared with the world. Crossing artistic boundaries, she collaborated with and commissioned work from the leading visual artists, musicians, and designers of her day, including sculptor Isamu Noguchi and composers Aaron Copland, Samuel Barber, and Gian Carlo Menotti.
Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time.
Graham influenced generations of choreographers that included Merce Cunningham, Paul Taylor, and Twyla Tharp, altering the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov sought her out to broaden their artistry. Artists of all genres were eager to study and work with Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minnelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments.
During her long and illustrious career, Graham created 181 dance compositions. During the Bicentennial she was granted the United States’ highest civilian honor, The Medal of Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation. “No artist is ahead of his time,” she said. “He is his time. It is just that the others are behind the time.”

Janet Eilber
Janet Eilber
JANET EILBER has been Artistic Director of the Martha Graham Center of Contemporary Dance Company since 2005. Her creative curation has pioneered new forms of audience access to the Graham legacy. These diverse initiatives include her popular spoken introductions, thematic programming,unusual educational and cultural partnerships, licensing of the Graham classics to schools and professional companies, the use of new media and technology, commissions for today’s top choreographers and a wide range of creative events such as the Lamentation Variations, The 19 Poses, All-City Panorama and the Clytemnestra Remash Challenge.
Ms. Eilber has reconstructed the lost Graham solos Satyric Festival Song and Immediate Tragedy and remixed Graham choreography for productions of The Bacchae and Prometheus Bound at the Teatro Greco in Siracusa, Italy, and for The Feast with the Long Beach Opera starring renowned countertenor Jakub Józef Orliński.
Ms. Eilber is a graduate of the Juilliard School where she was mentored by teachers of the Graham and Limón legacies and directed by José Limón in several of his classics. While still at Juilliard, she was invited to join the Graham Company where she worked closely with Martha Graham for almost a decade.She danced many of Graham’s greatest roles, had roles created for her by Graham, and was directed by Graham in most of the major roles of the repertory.She soloed at the White House, was partnered by Rudolf Nureyev, starred in three segments of Dance in America, and worked with Graham’s major collaborators such as Isamu Noguchi, Aaron Copland and Halston. She has since taught, lectured, and directed Graham ballets internationally for companies such as the Dutch National Ballet and the Paris Opera Ballet.
Apart from her work with Graham, Ms. Eilber has co-starred in films such as Whose Life is it Anyway? with Richard Dreyfuss, and Romantic Comedy with Dudley Moore. She was featured in several television series in the 1980s, and danced and acted on and off Broadway directed by such greats as Agnes de Mille and Bob Fosse. For her performance in Stepping Out directed by Tommy Tune, she was nominated for a Drama Desk Award for Featured Actress in a Play. Ms. Eilber received four Lester Horton Awards for her reconstruction and performance of seminal American modern dance. She served as Director of Arts Education for the Dana Foundation, guiding the Foundation’s support for Teaching Artist training and contributing regularly to its publications. She is also a Trustee Emeritus of the Interlochen Center for the Arts.
At the 2022 celebration of the 50th anniversary of her first performance with the Martha Graham Dance Company, Ms. Eilber received a congratulatory letter from President and First Lady Biden saluting her half-century contribution to the arts in America. She is married to screenwriter/NYU professor John Warren, with whom she has two daughters, Madeline and Eva.

Virginie Mécène
Virginie Mecene
VIRGINIE MÉCÈNE is a former principal dancer with the Martha Graham Dance Company and Buglisi Dance Theater. She has been the Director of Graham 2 and is an eclectic choreographer.
In 2017, she choreographed Ekstasis, inspired by Graham’s lost solo, Ekstasis (1933). In 2024, she choreographed two more solos inspired by lost Graham works, Revolt (1927) and Immigrant (1928), under a Fellowship from the Jerome Robbins Dance Division of the New York Public Library.
Her commissioned works include ten solos by N.E.U. Records, to the musical album of Spanish Composer, Ramón Humet; a twenty-three-minute group dance by the Martha Graham Dance Company, to the music of American composer Thomas Hormel; and a trio, UNUM, by Buglisi Dance Theatre with a New York State Council on Arts’ Choreographer Award, to the music of French-Italian composer Jacopo Baboni Schilingi.
Her work was acclaimed in venues such as New York City Center, The Joyce Theater, in New York City; The Adrienne Arsht Center and the Broward Center in Florida; and Kaatsbaan International Dance Center in New York State; the Palais Garnier in Paris; and L’Auditori de Barcelona in Barcelona. A native of France, she graduated from the University of Bourgogne with a Licence Professionnelle in Artistic and Cultural Management.

Xin Ying
Xin Ying
XIN YING, dancer and choreographer, MFA candidate, Dance Magazine cover star and a mother, joined the Company in 2011 and performs many of Graham’s own roles, including Herodiade, Errand into the Maze, Chronicle, Cave of the Heart, and others. Her performance as The Chosen One in The Rite of Spring was noted as “Transcendent and heroic” by the New York Times. She has also been featured in works created for the Company by many contemporary choreographers including Nacho Duato, Annie-B Parson, and Hofesh Shechter.
Her posts of her improvisations have garnered attention across major social media and press platforms, and her growing resume as a collaborator and choreographer, includes
While completing her MFA at NYU, Xin has created a GPT for the Graham Company, MarthaBot, as well as Lamentation: Dancing the Archive, a project using volumetric film and AR tracking technology, set to premiere at Jacob’s Pillow in 2025. Letter to Nobody, a collaboration with media that allows her to dance with Martha Graham, and is receiving its world premiere this season at The Joyce.
Instagram: @Xin_Ying_Dance

Lloyd Knight
Lloyd Knight
LLOYD KNIGHT joined the Company in 2005 and performs major roles of the Graham repertory including Appalachian Spring, Embattled Garden, Night Journey among others. Bessie Nominated for best Performer in 2022, Dance Magazine also named him one of “Top 25 Dancers to Watch” in 2010 and one of the best performers of 2015. Mr. Knight has starred with ballet greats Wendy Whelan and Misty Copeland in signature Graham duets and has had roles created for him by such renowned artists as Nacho Duato and Pam Tanowitz. Knight has performed as a principal guest artist for The Royal Ballet of Flanders directed by Sidi Larbi Cherkaoui as well as with Twyla Tharp Dance. Born in England and raised in Miami, he trained at Miami Conservatory of Ballet and New World School of the Arts. Recently he was an 2023 Dance Research Fellow for The New York Public Library for the Performing Arts and will be performing his One Person show titled the “The Drama” at The Guggenheim in 2025.
Instagram: @lloydknight

Leslie Andrea Williams
Leslie Andrea Williams
LESLIE ANDREA WILLIAMS joined the company in 2015 and since has performed featured roles in iconic Graham ballets as well as in works by some of today’s top choreographers. Her Graham roles have included Medea in Cave of the Heart, and the lead in Chronicle, which earned her a place on The New York Times “Best Dance of 2019” list. Ms. Williams’s has been profiled in Dance Magazine, Teen Vogue, Psychology Today, among others. Her work has been described in reviews as “hypnotic” and “larger than life.” Hailing from Raleigh, NC, Ms.Williams is a graduate of the Julliard School.
Instagram: @lezandrea

Anne Souder
Anne Souder
ANNE SOUDER joined the Company in 2015 and performs lead roles in Appalachian Spring, Cave of the Heart, Diversion of Angels, Dark Meadow Suite, Chronicle, Ekstasis, Immediate Tragedy, and Hérodiade. She has performed repertoire in the Company’s new and commissioned works by Jamar Roberts, Agnes de Mille, Baye & Asa, Annie Rigney, Hofesh Shechter, Sonya Tayeh, Andrea Miller, Maxine Doyle, Bobbi Jean Smith, Lucinda Childs, Lar Lubovitch, Sidi Larbi Cherkaoui, and Marie Chouinard. Souder began her training in Tennessee and continued on to earn her degree at the Ailey/Fordham BFA program. Upon graduation, she joined Graham 2 and was awarded a Dizzy Feet Foundation scholarship. Anne is a proud member of AGMA and has been the union rep for a total of 5 years and counting.
Instagram: @anniesoud

Laurel Dalley-Smith
Laurel Dalley-Smith
LAUREL DALLEY SMITH, from Bath, England, joined the Company in 2015. Laurel performs lead roles in Appalachian Spring, Steps in the Street, Errand into the Maze, Cave of the Heart and Maple Leaf Rag amongst others. Also dancing the Title role of ‘Cowgirl’ Agnes De Mille’s Rodeo, and features in new works by – Hofesh Shechter, Jamar Roberts, Pam Tanowitz, Andrea Miller, Bobbi Jene Smith, Maxine Doyle, Lucinda Childs, Lar Lubovitch and Marie Chounaird. Laurel guests internationally working with award winning Yorke Dance Project, Kim Brandstrup and had the privilege of dancing for the late Sir Robert Cohan. She was a member of the 50th Anniversary cast of West Side Story performing featured Jet and Shark roles. Laurel graduated from Central School of Ballet London with a First Class Honours Degree.
Instagram: @laureldalleysmith

So Young An
So Young An
SO YOUNG AN, a native of South Korea, joined the Company in 2016. She performs featured roles in such Graham classics as Embattled Garden, Errand into the Maze, Diversion of Angels, and Secular Games and in roles in contemporary works by Anne-B Parson, Sidi Larbi Cherkaoui, Lar Lubovitch, Hofesh Shechter, Bobbi Jene Smith and Maxine Doyle. Ms. An is the recipient of the International Arts Award and the Grand Prize at the Korea National Ballet Grand Prix. Ms. An has danced with Korean National Ballet Company, Seoul Performing Arts Company and Buglisi Dance Theatre. She has also performed works by Yuri Grigorovich, Jean-Christophe Maillot, Mats Ek, Patricia Ruanne and Samantha Dunster.
Instagram: @so.young.an

Richard Villaverde
Richard Villaverde
RICHARD VILLAVERDE, born and raised in Miami, FL, he began dancing at the age of 13, privately coached by Maria Eugenia Lorenzo, is a New World School of the Arts graduate and received his B.F.A from University of the Arts in Philadelphia, PA. Notably, he was a part of Arsenale della Danza 2012 at La Biennale de Venezia under the direction of Ismael Ivo. He later joined BalletX (2012-2021) where he was featured in works by Matthew Neenan, Kevin O’Day, Dwight Rodan, Nicolo Fonte, Penny Saunders, Cayetano Soto, Trey McIntyre, Jodie Gates, and Annabelle Lopez Ochoa. He’s performed at the Vail International Dance Festival, Ballet Sun Valley, Belgrade Dance Festival as well as at Jacob’s Pillow.
Instagram: @Richardvillaverde

Devin Loh
Devin Loh
DEVIN LOH, from Fanwood, NJ, joined the company in 2021. She has performed Graham classics such as Appalachian Spring and Chronicle, and contemporary works by Jamar Roberts, Hofesh Shechter, and others. Ms. Loh holds a BFA from SUNY Purchase and is a recipient of the Bert Terborgh Dance Award. Ms. Loh was a member of Graham 2.
Instagram: @devinloh

Antonio Leone
Antonio Leone
ANTONIO LEONE (New Dancer), a native of Italy, graduated from the Rudra Bejart School in Switzerland. In 2021 he joined Graham 2 and the main company in 2022. He performs featured roles in Errand into the Maze and Diversion of Angels by Martha Graham, as well as roles in commissioned works by Agnes DeMille, Sonya Tayeh and Yin Yue. He is the first male dancer with CRDance and a Pearl Lang Award recipient for Excellence in Performance.
Instagram: @antoniioleone

Meagan King
Meagan King
MEAGAN KING (New Dancer), of Brooklyn, NY, is an Ailey/Fordham BFA graduate and LaGuardia H.S. alumna. Ms. King danced with Ailey II, receiving features in Dance Spirit, The TODAY Show, PIX11, NY12, Good Day Sacramento, and named BLOCH Young Artist. She performed at Holland Dance Festival and Jacob’s Pillow Contemporary and choreographed for Women/Create! This is her first season with the company.
Instagram: @meaganking__

Ane Arrieta
Ane Arrieta
ANE ARRIETA (New Dancer), dual citizen of Spain and the U.S., grew up in Rhode Island and trained at the Newport Academy of Ballet. She received a BFA in Dance Performance and Pedagogy from the Hartt School at the University of Hartford, earning the Outstanding Senior Award. She has worked with choreographers Jacqulyn Buglisi, Pascal Rioult, Bryan Arias, Francesca Harper and Colin Connor, and has been a member of Newport Contemporary Ballet, Buglisi Dance Theater and Graham 2. This is her second season with the company.
Instagram: @anearrieta

Zachary Jeppsen
Zachary Jeppsen
ZACHARY JEPPSEN (New Dancer), raised in Southern Wisconsin, is an alumnus of The Juilliard School where he received his BFA in Dance. He has had the pleasure of performing pieces by Alvin Ailey, Martha Graham, Jacqulyn Buglisi, Donald McKayle, Paul Taylor, Ohad Naharin, and many other choreographers. Before Juilliard, Zachary attended The Chicago Academy for the Arts where he studied under Randy Duncan and Patrick Simoniello. This is his second season with the company.
Instagram: @zachjeppsentoy

Amanda Moreira
Amanda Moreira
AMANDA MOREIRA (New Dancer), originally from Roxbury, NJ, received her BFA in Dance with a concentration in Modern from Marymount Manhattan College in 2022. She has performed works choreographed by Martha Graham, Twyla Tharp, Sidra Bell, Jessica Lang and Jennifer Archibald. After graduating she joined Graham 2. This is her second season with the company.
Instagram: @amanda__nicole18
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Jai Perez
Jai Perez
JAI PEREZ (New Dancer) , from Brooklyn, NY, started his dance journey at the National Dance Institute where he cultivated a love for dance. He continued his training at the Alvin Ailey Junior Division, and is now an Alumni of the Conservatory of Dance at SUNY Purchase. He has performed works by Ronald K. Brown, Doug Varone, Ja’Malik, Ayodele Casel, Norbert De La Cruz lll, Martha Graham and Jacqulyn Buglisi. This is his second season with the company.
Instagram: @jai.perez

Ethan Palma
Ethan Palma
ETHAN PALMA (New Dancer) is originally from Appleton, Wisconsin where he began his training at Barb’s Centre for Dance. Ethan graduated from Marymount Manhattan College with a Bachelor’s in Fine Arts with a concentration in ballet. At Marymount, Ethan has performed in works of many choreographers including Martha Graham, Sidra Bell, Jenn Freeman, Chanel Dasilva, Pedro Ruiz, and Darshan Bhuller. This is Ethan’s first season with the Martha Graham Dance Company.
Instagram: @ediggie1

Matthew Spangler
Matthew Spangler
MATTHEW SPANGLER (New Dancer), born and raised in Boulder, Colorado, began his dance training at the age of four and recently graduated with a BFA from The Juilliard School under the direction of Alicia Graf Mack and Mario Alberto Zambrano. While at Juilliard, he performed works by Ohad Naharin, Spencer Thesberge and Jermain Spivey, Hofesh Schechtor, and Aszure Barton among others.

Rayan Lecurieux-Durival
Rayan Lecurieux-Durival
RAYAN LECURIEUX-DURIVAL (Apprentice) from French Guyana, where he trained, among other locations, before relocating to Paris. He joined the Institut de Formation Rick Odums. He has worked with choreographers: Christopher Huggins, Bill T Jones, Jennifer Muller, Jamel Gaines, Francesca Harper, Norbert De la Cruz III. He has also performed with Alvin Ailey American Dance Theater, Jamel Gaines Creative Outlet, Parsons Dance, Collage Dance Collective, Buglisi Dance Theatre, and Jennifer Mullet/The Work.
COLLABORATING ARTISTS

Baye & Asa
Baye & Asa
BAYE & ASA (by-yay & ae-suh) were born & raised in New York City. We’ve known each other since first grade & our bodies are shaped by a shared education. Through the personal dynamics of our relationship we address the larger political landscape of our upbringing, struggling to show a reality of violence while communicating a necessity for empathy.
Hip Hop & African dance languages are the foundation of our technique. The rhythms of these techniques inform the way we energetically confront contemporary dance & theatre.
Baye & Asa is a company creating movement art projects directed by Amadi ‘Baye’ Washington & Sam ‘Asa’ Pratt. We met when we were 6 years old. The physical aggression in our choreography is a symptom of our political rage, and a yearning to personally implicate ourselves. We use our choreography to create political metaphors, interrogate systemic inequities, and contemporize ancient allegories; we build theatrical contexts that celebrate, implicate, and condemn the characters onstage.
We’ve presented our work at The Joyce Theater, The Metropolitan Museum of Art, La MaMa Experimental Theatre Club, Pioneer Works, The 92nd Street Y, Baryshnikov Arts Center, Jacob’s Pillow, Yale University, ODC, b12 festival, University of Maryland, Blacklight Summit, Southampton Arts Center, and Battery Dance Festival. We were selected as one of Dance Magazine’s “25 to Watch” for 2022, and are recipients of Dance Magazine’s 2023 Harkness Promise Award. We’ve created works for rep companies that include The Martha Graham Dance Company, BODYTRAFFIC, and Alvin Ailey II. Our film work has won numerous awards and has been presented internationally.

Beowulf Boritt
Beowulf Boritt
BEOWULF BORITT has designed The Seven Deadly Sins and Jerome Robbins: Something to Dance About for The New York City Ballet.
30 Broadway designs include the Tony Award winning sets for New York, New York and Act One, the Tony nominated sets for The Scottsboro Boys, Therese Raquin, Potus, and Flying Over Sunset. Also on Broadway, The Piano Lesson, Ohio State Murders, The Old Man and the Pool, Come From Away, Freestyle Love Supreme, Be More Chill, The New One, Bernhardt/Hamlet, Meteor Shower, A Bronx Tale, Prince Of Broadway, Hand To God, Sondheim On Sondheim, …Spelling Bee, LoveMusik, Rock Of Ages, Chaplin, On The Town (’14), Sunday In the Park… (’17), Bronx Bombers, Grace, and The Two And Only.
100 Off-Broadway shows include Shakespeare in the Park’s Hamlet, Much Ado, and Merry Wives, The Last Five Years, Fiddler On The Roof (in Yiddish), Sleepwalk With Me, and Miss Julie. He has designed for the Ringling Brothers and Barnum & Bailey Circus, and designed around the world in England, Russia, China, Australia, and Japan. He received a 2007 OBIE Award for sustained excellence. His book about Broadway set design, Transforming Space Over Time, is available wherever books are sold.

Oana Botez
Oana Botez
OANA BOTEZ: New York credits include BAM Next Wave, Lincoln Center, Playwrights Horizons, PS122, Soho Rep, Joyce Theater, BRIC Arts Media, Classic Stage Company, Public Theater, and Bard SummerScape. Her regional credits are the Actors Theater of Louisville, Wilma Theater, Montclair Peak Performance, Jacob’s Pillow Dance Festival, Hartford StageCompany, Shakespeare Theater (DC), Berkeley Rep, ArtsEmerson, Broad Stage, MCA Chicago, ODC (San Francisco), and theWalker Art Center. Her international credits include the Old Vic, Bucharest National Theater, Arad National Theater, Bulandra Theater, Théâtre National de Chaillot, Les Subsistances, Budapest National Theater, Cluj Hungarian National Theater, Bucharest Operetta Theater, International Festival of Contemporary Theater (Adana, Turkey), Le Quartz, La Filature (Mulhousse, France), and Exit Festival/Maison des Arts Creteil (Paris).
Ms. Botez is currently an Assistant Professor Adjunct in the Design Department at David Geffen School of Drama at Yale.

Yi-Chung Chen
Yi-Chung Chen
YI-CHUNG CHEN, originally from Taiwan,is a NYC based lighting designer. Her designs have been seen in NY at New York City Center, David H. Koch Theater, The Joyce, La Mama, HERE Arts Center, New Ohio Theater, LaGuardia Performing Arts Center, Judson Memorial Church, etc; regionally at TheatreSquared in Arkansas; and internationally at Palais Garnier, NCPA Beijing, Wuzhen Theatre Festival, Festival d’Avignon OFF, among others. Member of USA 829. MFA: Boston University. yichungchen.com

Agnes de Mille
Agnes de Mille
AGNES DE MILLE (born Sept. 18, 1905, New York, N.Y., U.S.—died Oct. 7, 1993, New York City), American dancer and choreographer who further developed the narrative aspect of dance and made innovative use of American themes, folk dances, and physical idioms in her choreography of musical plays and ballets.
Her father was the playwright William Churchill DeMille, her mother the daughter of the economist Henry George, and her uncle the film director Cecil B. DeMille. She spent her youth (from 1914) in Hollywood and earned a B.A. degree in English from the University of California, Los Angeles. She also learned dance. After moving to New York City, she toured the United States and Europe (1929–40), giving concerts of her own character sketches in mime-dance. She created her first major roles in ballet with the Ballet Rambert, performing in works by Antony Tudor, and later studied modern dance.
Rodeo (1942), one of her most important ballets, was created for the Ballet Russe de Monte Carlo. The first ballet to include tap dancing, it used distinctively American gestures—bronco-riding and steer-roping movements. Most of de Mille’s other ballets were choreographed for New York City’s Ballet Theatre, which she joined in 1940. Her works for that company include Fall River Legend (1948; based on the story of Lizzie Borden), The Harvest According (1952), and Three Virgins and a Devil (1941).
De Mille’s equally outstanding career as a choreographer of musicals began in 1929 with The Black Crook. In 1943 she choreographed the dances for Oklahoma!. In that Broadway musical, dance not only added to the dramatic atmosphere but also, for the first time in American theatrical history, was instrumental in advancing the plot. Among the other musicals for which she staged thedances were One Touch of Venus (1943), Carousel (1945), Brigadoon (1947), Gentlemen Prefer Blondes (1949), Paint Your Wagon (1951), The Girl in Pink Tights (1954), and 110 in the Shade (1963). She also arranged dances for the films Romeo and Juliet (1936) and Oklahoma! (1955), directed plays, and choreographed television programs.
The recipient of many prizes and awards, de Mille continued to choreograph ballets for the American Ballet Theatre, including A Rose for Miss Emily (1971), Texas Fourth (1976), and The Informer (1988). Among her several books are Dance to the Piper (1952), To a Young Dancer (1962), The Book of the Dance (1963), Lizzie Borden: A Dance of Death (1968), and Speak to Me, Dance with Me (1973). She also wrote two autobiographies, And Promenade Home (1958) and Where the Wings Grow (1977). Her later books include her controversial biography of fellow dancer-choreographer Martha Graham entitled Martha (1991).

Rhiannon Giddens
Rhiannon Giddens
RHIANNON GIDDENS has made a singular, iconic career out of stretching her brand of folk music, with its miles-deep historical roots and contemporary sensibilities, into just about every field imaginable. A two-time GRAMMY Award and Pulitzer Prize-winning singer and instrumentalist, MacArthur “Genius” grant recipient, and composer of opera, ballet, and film, Giddens has centered her work around the mission of lifting up people whose contributions to American musical history have previously been overlooked or erased, and advocating for a more accurate understanding of the country’s musical origins through art.
As Pitchfork once said, “few artists are so fearless and so ravenous in their exploration”—a journey that has led to NPR naming her one of its 25 Most Influential Women Musicians of the 21st Century and to American Songwriter calling her “one of the most important musical minds currently walking the planet.”
Giddens also is exploring other mediums and creative possibilities just as actively as she has American musical history. With 1858 replica minstrel banjo in hand, she wrote the opera Omar with film composer Michael Abels (Get Out, Us, Nope) which received the 2023 Pulitzer Prize in Music, and, with her partner Francesco Turrisi, she wrote and performed the music for Black Lucy and the Bard, which was recorded for PBS’ Great Performances; she has appeared on the ABC hit drama Nashville and throughout Ken Burns’ Country Music series, also on PBS.
Giddens has published children’s books and written and performed music for the soundtrack of Red Dead Redemption II, one of the best-selling video games of all time. She sang for the Obamas at the White House; is a three-time NPR Tiny Desk Concert alum; and hosts her own show on PBS, My Music with Rhiannon Giddens, as well as the Aria Code podcast, which is produced by New York City’s NPR affiliate station WQXR.
“I’ve been able to create a lot of different things around stories that are difficult to tell, and managed to get them done in a way that’s gotten noticed,” as Giddens puts it. “I know who to collaborate with, and it has gotten me into all sorts of corners that I would have never expected when I started doing this.”

Caleb Krieg
Caleb Krieg
Bio coming soon…

Rebecca Nussbaum
Rebecca Nussbaum
Rebecca Nussbaum bio coming soon…

Jamar Roberts
Jamar Roberts
JAMAR ROBERTS was the Resident Choreographer of Alvin Ailey American Dance Theater from 2017-2022. Mr. Roberts made five works on the Company, all to critical acclaim: Members Don’t Get Weary (2016), Ode (2019), A Jam Session for Troubling Times (2020), Holding Space (2021), and In a Sentimental Mood (2022). He also set Gemeos on Ailey II. Mr. Roberts is a graduate of the New World School of the Arts and the Ailey School and has danced for Alvin Ailey American Dance Theater, Ailey II, and Complexions. Mr. Roberts won the 2016 Bessie Award for Outstanding Performer and has performed as a guest artist with the Royal Ballet in London. Commissions include Vail Dance Festival, Fall for Dance, The Juilliard School, BalletX, New York City Ballet, San Francisco Ballet, L.A. Dance Project, ABT Studio Company, Miami City Ballet, Parsons Dance and Works, and Process at the Guggenheim, where he created the film Cooped. The March on Washington Film Festival invited Mr. Roberts to create a tribute to John Lewis and he has also made a film for the LA Opera entitled The First Bluebird in the Morning. Mr. Roberts was a Director’s Fellow at NYU’s Center for Ballet and the Arts, Creative Associate at the Juilliard School in 2023, and was recently featured on the cover of Dance Magazine, previously having been on the cover in June 2013 and been named one of“25 to Watch” in 2007.

Hofesh Shechter
Hofesh Shechter
HOFESH SHECHTER OBE is recognised as one of the most exciting artists making stage work today, renowned for composing atmospheric musical scores to complement the unique physicality of his movement. He is Artistic Director of the UK-based Hofesh Shechter Company, formed in 2008. The company are resident at Brighton Dome and Shechter is an Associate Artist of Sadler’s Wells and Artist-in Residence of Gauthier Dance (2021-2024).
Hofesh Shechter’s repertoire for the company includes Uprising (2006), In your rooms (2007), The Art of Not Looking Back (2009), Political Mother (2010), Political Mother: The Choreographer’s Cut (2011), Sun (2013), barbarians(2015), Grand Finale (2017), SHOW (2018), POLITICAL MOTHER UNPLUGGED (2020) Double Murder (2021) and Contemporary Dance 2.0 (2022).
Shechter has also staged and choreographed works on leading international dance companies including the Alvin Ailey American Dance Theater, Batsheva Ensemble, Candoco Dance Company, Cedar Lake Contemporary Ballet, Nederlands Dans Theater 1, Paris Opera Ballet, Royal Ballet and Royal Ballet Flanders.
He has choreographed for theatre, television and opera, notably at the Metropolitan Opera (New York) for Nico Mulhy’s Two Boys, the Royal Court on Motortown and The Arsonists, the National Theatre on Saint Joan and for the Channel 4 series Skins. He co- directed Gluck’s Orphée et Eurydice with John Fulljames at the Royal Opera House in 2015 and in 2016 received a Tony Award nomination for his choreography for the Broadway revival of Fiddler on the Roof.
In 2018 Hofesh Shechter was awarded an honorary OBE for Services to Dance and the company’s first dance film, Hofesh Shechter’s Clowns, was broadcast by the BBC in September to great acclaim. His next short film POLITICAL MOTHER: The Final Cut premiered in July 2021 and in 2022, a collaboration with French filmmaker Cédric Klapisch saw the release of the much-anticipated feature En corps.

Karen Young
Karen Young
KAREN YOUNG designs costumes for dance, experimental theater and video art projects in New York and internationally. She has a had a long-standing relationship with the Martha Graham Dance Company, where she has supervised the reconstruction of costumes for numerous Graham works, in addition to designing new works for the company by Sonya Tayeh, Sidi Larbi Cherkaoui, Lucinda Childs, Maxine Doyle and Troy Schumacher. Other recent design for dance includes projects with Kyle Abraham, the Royal Ballet, Alvin Ailey, Acosta Danza Cuba, the Czech National Ballet, Ballet Basel, Brian Brooks, Miami City Ballet, Hubbard St. Dance, and the Paul Taylor Dance Company. karenyoungcostume.com

Gabe Witcher
Gabe Witcher
GABE WITCHER is a Grammy winning multi-instrumentalist/Producer/Composer/Arranger best known for his work with the genre-bending acoustic quintet, Punch Brothers. Throughout his nearly 40-year career, he has worked with a wide range of artistic luminaries including Paul Simon, Elton John, Yo-Yo Ma, Willie Nelson, the Coen Brothers, Randy Newman, and T Bone Burnett. Gabe frequently appears as a featured soloist on many award-winning film and television scores such as Oscar Winners Brokeback Mountain and Toy Story, Cars, The Good Dinosaur, Inside Llewyn Davis, Better Call Saul and Nashville. As a composer and arranger, he has received commissions and premiered works with the San Francisco Symphony, Boston Pops, Kennedy Center’s National Symphony, and composed the scores to the 2019 Film The Peanut Butter Falcon and Nickelodeon’s Are You Afraid of the Dark?, season two. He currently resides in Los Angeles with his wife and two children.

Mimi Yin
Mimi Yin
MIMI YIN is a multidisciplinary artist and educator. Her work experiments with unconventional modes of interaction in performance and participatory experiences and computational approaches to improvisation and composition. Her work has been seen on Governors Island, The Highline, Yale University Art Gallery, Gibney Dance, Danspace in St. Mark’s Church, MANA Contemporary, Culture Hub, NY Live Arts among others. Her research into choreographic practice and interactive media has been supported by an NEA Art Works grant, Google AMI and The NYU Catalyst Prize. She has held residencies at The Movement Lab at Barnard College, The Center for Ballet and The Arts at NYU, and MaxMachina. Mimi is an Assistant Arts Professor at NYU’s Interactive Telecommunications Program.
MARTHA GRAHAM CENTER FOR CONTEMPORARY DANCE
LaRue Allen, Executive Director
Janet Eilber, Artistic Director
Simona Ferrara, General Manager
Faye Rosenbaum, Director of Business Continuity
Lauren Mosier, Company Manager
Susan Lamb, Finance & Admin Assistant
Camille Nemoz, Admin Assistant
Chloe Morrell, Production Supervisor
Yi-Chung Chen, Resident Lighting Designer
Gabrielle Corrigan, Costume Supervisor
Karen Young, Costume Consultant
A. Apostol, Director of Development Operations
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Ashley Brown, Director, Martha Graham School
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Janet Eilber, Artistic Director
Amy Blumenthal
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Christine Jowers
Nichole Perkins
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