Standing in the Doorway and Calling It a Dance is choreographers Jon Kinzel and Vicky Shick’s joint effort to grapple with where we are right now amidst the baffling uncertainties of these hundreds of days.
Kinzel’s experience of constructing installation-like environments situate audiences within a mutable social space. His drawing practice is at times a choreographic tool as well as an end-in-itself, and it influences the creation of set and improvised movement. Considerations for intuitiveness, restlessness, certainty, tentativeness, music, theater, awe and urban life give shape to this new work created for Roulette. Performers include Emily Climer, Marc Crousillat, Charles Gowin, and Kinzel.
Shick presents a collection of disparate scraps—some subconscious residues. Where’s the hall closet, the armchair, the kitchen faucet? Can these spots be replaced, reconfigured? This new abstract gathering with Jennifer Lafferty, Athena Malloy, Marilyn Maywald Yahel, and Shick tries to reimagine some of these distinct spots, animating them and unraveling a bit of chaos too.
Lighting design by Kathy Kaufman.
Please note: this performance will be in person only and will not be livestreamed.
Jon Kinzel has presented his work, including numerous commissions and solo shows, in a variety of national and international venues. He feels fortunate to have served as a sound designer and curator; danced and collaborated with choreographers, visual artists, designers, and composers; received support from foundations and residency programs; and contributed to publications such as SCHIZM Magazine, PAJ: A Journal of Performance and Art, and MR Performance Journal. As a result of a 2020 MacDowell Fellowship, Pacific Terminus has become a determined interdisciplinary practice. As an educator, he has worked with the Merce Cunningham Trust, Movement Research, Lincoln Center Education, New York Studio School of Drawing, Painting & Sculpture, as well as many colleges and universities.
Vicky Shick has been involved in the NYC dance community for four decades. She has been making dances since the late eighties, collaborating with various performers, artists, and sound designers. For six years she was a member of the Trisha Brown Company and has staged several of Brown’s dances. She has also performed with many other choreographers and created pieces at several universities, most recently at Yale. In the NYC area, she teaches at Movement Research, for the Trisha Brown Company, and for 15 years at Hunter College. She has taught internationally, including in her hometown, Budapest. Just before the pandemic lockdown, she was at a residency in San Francisco at Margaret Jenkins Dance Lab. She was a two-time Movement Research Artist-in-Residence, a two-time Bessie recipient, a grant recipient from the Foundation for Contemporary Arts, a Guggenheim Fellow, and a DiP grantee at Gibney Dance Center.
Emily Climer is a dancer and writer based in Brooklyn. She has recently shown choreography at Triskelion Arts, WeisAcres, The Third Barn, and the School for Contemporary Dance and Thought, and is currently continuing work on a duet with Katie Skinner. As a performer, she has danced with Emma Rose Brown, Mina Nishimura, Susan Sgorbati & Elliot Caplan, Dustin Maxwell, Tori Lawrence, and Tyler Rai. Emily is in the process of building an online platform for improvisation research with her collaborator since Bennington College, Marie Lynn Haas. She also writes and edits books for emerging readers for Great Minds, an education non-profit.
Charles Gowin is a dancer from Columbia, Missouri. He received his BFA in dance from the University of Illinois in the Fall of 2015. Since moving to Brooklyn, he has had the pleasure of dancing for Tere O’Connor in Double Flower Possibility; Katy Pyle’s Ballez in Sleeping Beauty and The Beast, Giselle of Loneliness; Slavic Goddesses; for Brendan Fernandes in Clean Labor; Master and Form; and for Ishmael Houston-Jones and Miguel Gutierrez in their Bessie award-winning Variations on Themes from Lost and Found: Scenes from a Life and other works by John Bernd. He has also performed for Sônia Soares, Christine Bonansea, Juri Onuki, Ellie Goudie-Averill, Alex Rodabaugh, and Emma Brown.
Jennifer Lafferty is originally from southern CA. She has worked with Beth Gill, Sarah Michelson, Rebecca Lazier, Yasuko Yokoshi, Michou Szabo, Anna Sperber, Christopher Williams, Renee Archibald, and Nina Winthrop. She has been involved with performance curation at Roulette and Sundays on Broadway.
Athena Malloy has had her work presented at Here, Movement Research at Judson Church, The Kitchen, Joyce SoHo, P.S 122, Dixon Place, 92nd St Y, and the Next Stage. She collaborated with Connor Voss on an evening-length work which was presented in April 2021 at The Invisible Dog. She taught at the Susan Klein School, DNA, SUNY Purchase, and the Trisha Brown studio. In 2003, she won a Bessie Award for her performances in RoseAnne Spradlin’s under/world. She has been dancing with Walter Dundervill since 2008, and she’s had a healing arts practice in Brooklyn for over twenty years.
Marilyn Maywald Yahel is a NYC-based dancer and choreographer who has collaborated closely with Vicky Shick for the past decade. She has danced for Maggie Bennett, Milka Djordjevich, Beth Gill, Melanie Maar, Yin Mei, Steven Reker, Melinda Ring, and Katie Workum, and has presented her own work through Roulette, Dixon Place, Movement Research, BAX, and Sundays on Broadway. Marilyn grew up in Nashville, TN and attended Arizona State University. She lives with her family of four in Brooklyn and is a Feldenkrais Method trainee.
Kinzel and Shick: Standing in a Doorway and Calling It a Dance is presented as part of DANCEROULETTE and is supported in part by the Mertz Gilmore Foundation, the Harkness Foundation for Dance, the National Endowment for the Arts, the New York City Department of Cultural Affairs, and through Roulette’s GENERATE program, providing over 30 artists each year with in-depth creative and technical support.