Betsy Sobo, Executive Director
10 Hairy Legs
What Presenters are Saying:
"You were truly the hardest working and most agreeable company to have hosted for the entire festival. I hope this is but the start of a long term relationship." --- Ken Tracy, Founder,
Choregus International Dance Festival, Tulsa, OK, September 2016
Bang Choreography: David Parker Duet Length: 11:47
Two bodies as tap shoes and a tongue and cheek commentary on dominance in a relationship. We are the only company other than The Bang Group permitted to perform this work.
Bath Tub Trio for Three Men Choreography: Cleo Mack
Trio Length: 12:05 Music: Beethoven
This work combines delicate gestures and aggressive physicality to confront the voyeuristic tendencies of American culture. This is the first time Ms. Mack has set the work on all men.
The Blind Men and the Elephant Choreography: Julie Bour Quartet Length: 15:00 Music: Original Score by Kyle Olson
The story of the Blind Man and the Elephant originated in the Indian subcontinent from where it has widely diffused. It has been used to illustrate a range of truths and fallacies; broadly, the parable implies that one's subjective experience can be true, but that such experience is inherently limited by its failure to account for other truths or a totality of truth. At various times the parable has provided insight into the relativism, opaqueness or inexpressible nature of truth, the behavior of experts in fields where there is a deficit or inaccessibility of information, the need for communication, and respect for different perspectives.
"Bour, formerly a star dancer with Angelin Preljocaj, has found an ingenious way to tell the story of three blind men who touch only one part of an elephant and come away with false impressions of the whole animal." – Robert Johnson – The Star-Ledger.
This work was commissioned by 10 Hairy Legs.
Bud Choreography: Stephen Petronio Duet Length: 4:23 Music: Rufus Wainwright's "Oh What A World"
A sinuous duet with intricate partnering set to that premiered in 2005. We are the only company aside from Stephen Petronio Company that has been permitted to have the work in its repertory. Ken Tabtchnik's original lighting design is required in appropriate venues, and Tara Subkoff/Imitation of Christ costume designs are worn.
Bull Choreography: David Dorfman and Dan Froot Duet Length: 15:00
"Bull" in many ways was the "son" of "Horn" (1990) which was the first in a series of three original duets that comprise "Live Sax Acts" by David Dorfman and Dan Froot. Where "Horn" was a non-verbal, sax-playing, body-flinging show of affection and competition charting Dan and Dave's budding friendship, "Bull" dug deeper, using verbal improvisation and provocation amplified through electronic bullhorns to excavate intimate feelings rarely shared by heterosexual men together. The performance piece features a slap dance, replete with pleasantries exchanged in a banter as crisp as the slaps.
Laughing out loud is one of the pleasures of watching the wonderfully zany dances of David Dorfman and Dan Froot. Their impeccable sense of timing modulates the kinetic energy of their capricious relationships, their smart and whimsical texts, and their fabulous use of props. They create an infectious pulse that drives the dances; it's apparent even in the silences and stillness. – Rose Anne Thom – Dance Magazine.
Closing the Glass Door Choreography: Randy James Duet Length: 8:00 Music: Haendel-Halvorsen Pascacaglia for Violin and Cello. Can be performed with live music
The dancers' physicality insinuates itself, prompting feelings, suggesting something basic about the give and take between two people and asking what different kinds of intimate relationships might have in common. "Mr. James shows that he is a true believer in full-bodied movement." - Gia Kourlas, The New York Times. "Mr. James approach to the use of the body in space is to maximize on the potential of the movement. An extended leg arcs away from the body forcing the spinal column to twist around the torso and thus the energy is fully utilized as the catalyst for the following phrase of movement. It was with out a doubt my favorite performance of the night... . Superb performance in a superb piece... . Bravo indeed!" – Darrell Wood - NYC Dance Stuff.
Covariance Choreography and Direction: Niv Sheinfeld and Oren Laor Duet Length: 23:00 Music: Frederic Chopin: Grand Waltz Brillant 2+3, Waltz Op. posth
Originally created on a man and a woman, Chopin's Waltzes create the atmosphere for this energetic and humorous perspective on the complexity of relationship. The dramaturgy leads the duo from the colorful phase of seduction to the later phases of manipulation and battle, confusion and finally acceptance. The work premiered in 2004 at the Susan Dellal Center in Tel Aviv. This is the first time the work has been set on anyone other than its creators.
"An enchanted evening, fascinating in its perspective on love and intimacy." - Zvi Goren, Ha'bama
Friends of Dorothy Choreography: David Parker Duet Length: 9:00 Music: "Why Not Me" sung by Debbie Reynolds music by Jay Livingston and lyrics by Ray Evans
"Somewhere Over the Rainbow" sung by Jane Powell music by Harold Arlen and lyrics by E.Y. Harbur
Technically demanding with inventive partnering and a strong narrative arc, audiences cannot help but laugh out loud. The dancers hoof and skip down a yellow brick road of their own design. Danced to overripe recordings by Jane Powell and Debbie Reynolds, this improbable couple finds dollops of beauty among the heartless kitsch and low down humor in the residue of Hollywood's past. 10 Hairy Legs is the only company aside from Parker's The Bang Group authorized to perform this work. "David Parker knows something about romantic love, roustabout physical comedy and the pleasure of plain body shapes and patterns" – Jennifer Dunning – The New York Times. Parker reimagined this work for 10 Hairy Legs, adding new sections.
Heaven's Dust Choreography: Randy James Trio Length: 12:03 Music: Original Score by Michael Wall
This work had it's World Premiere at New York Live Arts in June 2015.
"Heaven's Dust," shows men struggling and holding hands, yet its restless patterns suggest a vision of alienation." - Robert Johnson, NJArts.net.
Interview Choreography: Claire Porter Solo Length: 13:47
A spoken word and movement piece that is both poignant and humorous.
"The evening started with Tony Bordonaro's performance of Claire Porter's 'Interview' and what a start it was. The work began with Mr. Bordonaro in a pool of light, anxiously seated in a chair in proper business suit attire. He glances at his watch, makes it aware that he is on time and the importance of being on time for a job. He starts to state his credentials – CPA, MBA, CPR, PhD and a host of alphabetical abbreviations. Mr. Bordonaro was excellent. His portrayal of a young college graduate anxious to join the job market was perfect." – Darrell Wood, NYC Dance Stuff.
It Happens Only Once... Yesterday and Tomorrow Choreography: Tiffany Mills Quintet Length: 18:00 Music: Night Art, Treasures, "Trilogy, Part 1 – Birth", Night Art, Treasures, "Moments", Jan Jelinek, La Nouvelle Pauvrete, "Introducing", Jan Jelinek, La Nouvelle Pauvrete, "Facelift", Bexar Bexar, Haralambos, "Sick on Elizabeth"
It Only Happens Once... Yesterday and Tomorrow is based on a reoccurring dream that begins exactly the same way. The piece is constructed in three sections, each starting with the same image and then vastly diverging in movement, content and relationships. "The dancers rock and squirm and lock together to form designs like human puzzles that Bordonaro must solve... stealthy and filled with surprises, Mills' work seems to tap the unconscious." – Robert Johnson, The Star-Ledger. This work was commissioned by 10 Hairy Legs.
The Lion, the Witch and the Wardrobe 10 HL Projects Choreography: Randy James Full Company and Female Guest Artists Length: 55:00 Music: Mozart
C. S. Lewis' beloved classic comes to life in this one act work suitable for families and children age 5 and older. Follow the journey of the heroine Lucy through the Land of Forever Winter to see if she can save it from the evil White Witch. "It conveys emotional truths directly via shape and posture, movement shading and facial expressions; the performers communicate human sentiments and the nature of relationships with exceptional subtlety... Contributing to the production's success are ingenious costumes by Abraham Cruz, whose use of masks and shiny or transparent materials adds to the atmosphere of mystery. The composite score unites several compositions by Mozart — elegant music whose reassuring sense of order practically guarantees a happy ending." — Robert Johnson, NJArts.net.
This work had its World Premiere at the New Jersey Performing Arts Center on January 30, 2016.
mark Choreography: Doug Varone Quartet Length: 14:53 Music: Holly Herndon Terminal, Interlude, Dao
10 Hairy Legs World Premiere Commission. Debut date: June 11, 2016.
"Varone's mark mates strongly designed movements with cool precision." - Deborah Jowitt
Piano Choreography: Claire Porter Spoken word/movement work Solo Length: 15:00
A hilarious portrayal of the tics and idiosyncrasies of a concert pianist when his piano does not arrive in time... "With a lot of bowing, kissing of his most cherished possession, his fingertip... a rollercoaster of hilarity... deadpan delivery of all-consuming mental preparations and the sharing of information on what he planned to perform and how exactly he was going to perform it... complete with flourishes had everyone in stitches..." Darrell Wood – NYC Dance Stuff.
Pillar of Salt Choreography: Randy James Quartet Length: 21:00 Music: Vivaldi, Lady Gaga, Sigur Ros
A poetic work in 5 sections that explores the relationships among four of the founding members of the company. Passionately introspective, this dance has deep significance for James, who addresses themes of exclusion and memory in quartets in which one dancer is always odd-man-out.
The Portuguese Suite (Excerpt) Choreography: Christopher Williams Duet Length: 9:35 Music: Traditional Portuguese fado songs: Gaivota and Meu amor, men amor (meu limão de amargura) recorded by the legendary Portuguese singer Amália Rodrigues.
This solo and duet are excerpts from a full-length work.
Darrell Wood reviewed the piece noting: "There was such diversity between the hauntingly beautiful voice of Ms. Rodrigues (accompanied by a lone guitar) and how Mr. Williams approached the body in space with in regards to the music. Nothing about this piece should have worked…but work it did…"
Quadrivium Choreography: Megan Williams Quartet Length: 14:09 Music: Steve Reich New York Counterpointem>*
10 Hairy Legs World Premiere Commission. Debut date: June 11, 2016.
"Williams has fitted her springy, well-designed choreography intrepidly to Reich's insistent rhythms..." - Deborah Jowitt
*By arrangement with Herndon Music, Inc., a Boosey & Hawkes Company, publisher and copyright owner.
Rook Choreography: Randy James Solo Length: 4:38 Music: Commissioned score by Robert Maggio
"...a quieter, and more delicate affair in which subtle gestures are important..." – Robert Johnson, The Star-Ledger.
"The work displayed moments of great emotion ranging from passion to remorse. At times Mr. Sciscione's energies were extroverted and then suddenly he would pull them tightly to his body as if fearful. Mr. Sciscione used his body to articulate that which could not be expressed in words by a display of raw emotion. It was a heartfelt and intense work that Mr. Sciscione excelled in. Bravo to both Mr. Sciscione and Mr. James for a job very well done." – Darrell Wood, NYC Dance Stuff.
St. Petersburg Waltz Choreography: Seán Curran Solo Length: 7:51 Music: Meredith Monk
Curran created this work for Danspace Project's gala honoring Meredith Monk in 2012. The work reflects her imaginings of her Grandfather's life in Russia during the tumultuous years between World War I and World War II. A devout Cantor, it reflects his unshakeable faith despite overwhelming repression. "There's no fresher, more invigorating American dance now than the choreography of Seán Curran." – Lewis Segal, The Los Angeles Times.
Slapstuck Choreography: David Parker Duet Length: 9:17
Once you've seen what New York choreographer David Parker does with Velcro, you'll never look at the hook-and-loop fabric fastener again in quite the same way. The dancers come literally unglued as they negotiate the perilous and hysterical results of wearing neck to toe velcro suits. Among the many surprising elements is the use of the velcro suits to produce a ripping percussive score. Winner: 2002 Bessie Award for Design. "Choreographer David Parker has rhythm in his bones and his heart on his sleeve." – Thea Singer, The Boston Globe.
Solo 1 Choreography: Heidi Latsky Solo Length: 5:00 Music: Chris Brierly
This powerful yet subtle solo explores rhythmic circles emanating from a central standing figure, beginning quietly and building to a dramatic peak. Heidi Latsky is "a choreographer and dancer of uncommon intelligence and fluidity" – The New York Times. "[The work] beautifully resets preconceptions about bodies and movement." – The New Yorker.
Together We Stand Choreography: Manuel Vignoulle Quintet Length: 16:24 Music: "Al Maghfera" by Hugues de Courson; "Together" by Manuel Vignoulle
A riveting work in two sections. The piece explores the camaraderie between those brought together by violence, as well as studies the manner in which individuals relate to one another during crisis. This work was commissioned by 10 Hairy Legs.
Trouble Will Find Me Choreography: Doug Elkins Quintet Length: 16:24 Music: Nusrat Fateh Ali Khan
"Trouble Will Find Me" features five company members in a rousing work set to the music of Nusrat Fateh Ali Khan, an internationally acclaimed Pakistani musician, who was primarily a singer of Qawwali, the devotional music of the Sufis. The movement incorporates floreos (small, expressing hand movements used in Spanish dancing), floor work, Capoeira and Salsa. Elkins stated, "I am interested in conversations that deconstruct dance forms and in this work have indulged in the men's sensuality and funkiness while integrating the company members' individual corporeality to create a composite." "...the dancers throw themselves into Mr. Elkins's vigorous blend of salsa, capoeira and hip-hop... a burst of good cheer."- Gia Kourlas, The New York Times.