2008 - 2009


Artists from Colombia, France, Spain & US

A week long event of rehearsals and classes taught by the guests artists culminating in two final performances. Espacio Temporal, was the space very graciously provided to us by Marisol Rozo. 

This was an opportunity provide talented friends with a new international performance experience and connections, have trusted help in presenting my choregraphic ideas, as well as bring awareness to a topic that was rare to find in Spanish Newspapers until about 2011: Gender Violence. Doing it all in three languages at a time! 

This was a MAJOR learning experience, particularly in the value of Marketing...or lack there of.  The knowledge acquired from this experience was key in the later success of the Mad Tap Fests




Educational performance.

Teaching school children about dance, music and improvisation through performance and participation. Choreographies by dancers.

Pictured: Katelyn Foley, Rob Fernandez, T.J. Jazz, Erin Saddlemire VanNosdall after a performance.



Hartford CT

Final project for The Hartford Conservatory

"An 18th Century Tale Of Love told through live original music and dance from ballet to Hip Hop"

I composed the Duel and the Vocals and Lyrics for the Sisters Tap Dance. Lindsay Mavelle Gilbert wrote the Hip-Hop piece, and Heather Seaton Accompanied the remainder of the show. With the exception of the Hip-Hop piece choreographed by  Christie Doak and  I choreographed and the show in its entirety, tap, pointe, menuet, modern, that crazy lovers quarrel and blocking. ah yes, I merely guided the Cherubs in creating their  dance.  Erin Saddlemire VanNosdall designed the programs and posters. The costumes were blessed by the closing of a nearby theater, and again, the cherubs made their own costumes. After auditions and lots of rehearsals with a cast of amost 20, we performed to two packed evenings at the Charter Oak Cultural center. Further info and video will appear here soon. 


Music by Jean-Féry Rebel

Les Caractères de la Danse, a fantasy published in 1715, was an immediate success. Its composition is both original and unique: ten French dances linked together and therefore to be played as a whole ; two short movements of an Italianate sonata are inserted at the end of the work. This work was originally designed for dancing and the best French dancers of the period performed it.

The Original Program: 

Prélude, three rather slow beats (inégale quavers will enliven the piece)
Bourrée, two fast beats
Chaconne, three moderate beats
Sarabande, two slow beats
Gigue, two fast beats, but not excessively fast
Rigaudon, two fast beats
Passepied, 3 fast beats (to be played one-to-the bar)
Gavotte, two moderate beats
Loure, two ponderous beats
Musette, two moderate, graceful beats


(b Paris, c.1680 or 1681; d Paris, 13 Sept. 1741)

French dancer. She made her official debut at the Paris Opera in 1699 in Lully's Atys. For three decades she was the reigning French prima ballerina and, indeed, was one of the first ballerinas in France given that women had only recently been admitted onto the stage (her predecessors were La Fontaine and Subligny). She also choreographed her own material including Les Caractères de la danse (mus. Rebel, 1715), in which she danced and mimed the parts of eleven different lovers, both male and female. She also taught in Paris, where her pupils included Marie Camargo and Marie Sallé, who went on to become famous rivals. She retired from the Opera in 1730.

From:  Prévost, Françoise  in  The Oxford Dictionary of Dance »