“For Paul” 2018: a choreographic tribute to the late, iconic, modern dance pioneer, Paul Taylor. This work strives to embody the Taylor style and legacy through a contemporary lens and express fresh movement ideas in the context of classical modern dance. Premiered at the Spoke the Hub Director's Choice Showcase November 2018, Old First Reformed Church.

Music: J.S. Bach and Zoe Keating

Dancers: Emme Burchardt, Bridget Cronin, Quinton Guthier, and Sasha Smith

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“First Impression” 2018: a contemporary movement study inspired by the gesture of a simple handshake. This solo explores the possibility of a person being able to present all of their complexities and layers of their personality and soul in one short moment or first impression. This solo pays homage to classical modern dance forms and music, while challenging traditional concepts of presentation, femininity, and emotion. This solo won the Director’s Choice at the Spoke the Hub Winter Follies Showcase, where it premiered. Video by Amber Schmeissing.

Music: Andrew Bird and Johann Sebastian Bach

Dancer: Bridget Cronin

“To The Moon- duet excerpt” (2018): This is an adapted version of a duet Bridget created in 2015 on herself and Thomas Seibold, that was a part of a larger work she created for Reject Dance Theater. This version is performed by Bridget and Quinton Guthier, of Carolyn Dorfman Dance. Performed at the Tribe Theater Company’s Season Launch Party Gala in August 2018.

Music: Grimes ‘Oblivion’

Dancers: Bridget Cronin and Quinton Guthier

"In the Mirror" (2017) is a duet for two women connected by a common purpose who are simultaneously curious about their individual sense of selves. This duet illustrates how we try to learn who we are based on how we compare to others. The audience can view this piece as a dance between two women or one woman, in conversation with herself. This duet was performed at the Liberty Hall Museum Dance Festival (pictured above, photos by Patti Banks and Danielle Buggé) and at the Truth in Motion Dance Festival curated by Maya Kite and Dancers.

Music: Slow with Drums/ Run for Your Life by Dan Deacon

Dancers: Bridget Cronin and Niki Farahani

"To the Moon" (2016) is a study in reverence, fascination, and infatuation with a higher being, whether that gravitational pull is with a fixed object like the Moon, or with a God or an idea. The dancers discover what it is like to be connected to each other via a common goal and to be a part of what attracts or has a hold on them, while never being fully aware of each other’s presence. Through the process of observing or yearning for a higher atmosphere, the dancers realize the necessity and beauty that they, themselves, play in the big picture. The physicality and emotional tone of the dancers turns self-aware and grounded at times, as opposed to its ethereal and lifted nature, to show the fluidity between reality and fantasy.

Music: Jean-Yves Thibaudet, Henry Mancini, Frank Sinatra, and Grimes.

Dancers: Lacey Birch, Bridget Cronin, Cara Hoover, Thomas Seibold, Stephanie Simpson, and Rebecca Teicheira.

"Power Play" (2016) is the study of musicality through power dynamics. One dancer embodies a kinetic energy present in the piano of the music's exciting score, while the other two dancers embody the potential and deliberate nature of the score's residing rhythm. Playing with the juxtaposition between two opposing energies coexisting and interacting with each other is the central theme in "Power Play," an abstract work made for dancer Ellen Saltzman.

Music: Phillip Glass

Dancers: Lacey Birch, Bridget Cronin, and Ellen Saltzman

"Solo For Two" (2016) is a study in ego. The "solo" is danced by an egotistical and flamboyant character to the song "I Could Have Danced All Night" from the musical My Fair Lady. Rather than being a second dancer or partner, the other dancer is the character's surly assistant (the brilliant Gabriella Carmichael) and is begrudgingly helping her with movements (lifting her leg a bit higher for her, doing jazz hands behind her, etc.) and technical elements (throwing confetti at her during the chorus and giving her water during a break). This dance pushes the limits of the ridiculous and what, similar to "In The Wings," counts as a dance.

Music: Marni Nixon

Dancers: Gabriella Carmichael and Bridget Cronin

UMass Amherst "Ellington Nutcracker" 2015: Bridget had the honor of returning to her alma mater in the summer of 2015 to set a section of the Nutcracker on the dance major undergraduates. Bridget set movement to the "Overture" section of Duke Ellington's swanky take on a holiday classic. The other sections of the Nutcracker were choreographed by other UMass Amherst dance department alumni. The piece was performed with the live Umass Amherst jazz ensemble and UMass Theater made the fantastic costumes.

Music: Duke Ellington, "Overture" Nutcracker

Dancers (as pictured): Stacey Hazen, Janis Luke, Leah Calabro, Becca Scott, Kiera Cecchini, Mackenzie McClung, Colleen Unda

"In The Wings" (2015) is the study of process. It calls into question what we decide to show in dance performance versus what we keep to ourselves. It highlights some of the more comical or interesting aspects of a dance rehearsal that most audiences do not get to see and allows that to be "the dance." Made for dancers and non-dancers alike, "In The Wings" is a quirky take on an industry that, at times, takes itself too seriously.

Dancers: Gabriella Carmichael, Bridget Cronin and Sasha Smith

"Before" (2015) is a study of loneliness within strength and the restrictions of society's definition of femininity. It explores the implications of the outdated lyrics of the song "Someone to Watch Over Me," written by George Gershwin and performed by Ella Fitzgerald. The lyrics compare a woman as a "lost little lamb" in need of a "shepherd" to watch over her. While the voice and melody are beautiful and relatable, they are matched with our society's underlying archaic stamp of sexism. The movement features a vulnerable woman, emulating a bird at times, who finds moments of assertion and resistance within her pain. She becomes less maudlin and more aggravated as the solo continues. This solo is a short study that may be expanded.

Music: Ella Fitzgerald, lyrics by George Gershwin

Dancer: Bridget Cronin