What is a Boundary?

What is a Boundary?

“Boundaries” is a term that gets thrown around a lot in Intimacy work. But what, exactly, IS a boundary?

Check out my TikTok series on Boundaries!

A lot of times, we think about boundaries as “don’t touch my___!” And that’s valid! But, it’s also a VERY narrow definition. I like to think of Boundaries in 3 ways:

• Content

• Context

• Physical

Content Boundaries

What are you performing? Are there content, themes, stories that you should not engage with, for your own well being? You may find certain things activating, or simply not be your favorite kind of story to tell. If you are working towards being anti-racist and equitable, you will have boundaries on representing characters who have been marginalized by the demographics you represent.

Context Boundaries

Where are you performing? And, who are you performing with? You may be fine being in a state of undress in a 3000 seat house, because the audience is far away from you, and not with undressing in a 100 seat house, where you and the audience can see each other’s pores! You may feel confident performing certain acts of simulated sex with a scene partner you’ve worked with before, but not be ready to do so with someone you just met.

Physical Boundaries

What is my body experiencing? I invite you to open up your idea of physical boundaries. Instead of just asking what you are willing to have done to your body, also ask:

What am I willing to have my body do?
What am I willing to do (with consent) to the bodies of others?

You may be up for all sorts of content, in all sorts of contexts, but never want your body to be suspended above the stage. You may feel confident in having your glutes slapped in the course of story-telling, but not want to perform that action on others.

If you found these questions helpful, head over to the Shop at MomentumStage.org and download the Boundaries Worksheet for FREE! Then you will have them at your fingertips the next time you go to an audition or take a call from your agent. Just use the code “TIKTOK” at checkout.

Intimacy Professional Office Hours

I’m holding two events for folks in South Florida Theatre and South Florida Film to be able to speak to an Intimacy Professional. This time is meant to discuss how an ID/IC can support a production, whether you are an actor, crew member, critic, or administrator.

Register over on the Events page for the one that you are interested in, or drop your question in the form, and I will answer it during our time together.

We are meeting virtually so folks from across the region can attend, and that folks who can’t attend can still get answers through the recording.

See you there!

Press Release for Borrowed, the Play, in Miami!

I’m honored to be a part of the team creating Borrowed, an immersive play in Miami, opening in late June. See my Events page for ticket info. Check out the Broadway World press release all about the play here.

April 2022 News Stories about Intimacy Direction and Intimacy Coordination

Bringing Consent to Ballet, One Intimacy Workshop at a Time. 13 April 2022. Laura Cappelle for the New York Times.

The Impact of Intimacy Direction on Educational Theatre. 14 April 2022. Kaila Roach for On Stage Blog.

Motif Writing in Intimacy Choreography

A year of work, and another year of waiting, and my first peer-reviewed journal article has been published! In it I share my experience using Laban/Bartenieff Movement Analysis (LBMA) for Meaning-Making and Show Maintenance in Intimacy Choreographer for theatre productions. You can read it online in the Journal of Movement Arts Literacy.

Huge thanks to:

The cast and creative team of Measure for Measure’s In the Heights

The cast and creative team of TheatreLab’s The Glass Piano

My IMS cohort and faculty educators

Teresa Heiland, the editor of JMAL

March Intimacy Direction / Intimacy Coordination Articles

Intimacy Choreographers and their importance to the future of theatre performance. From OnStage Blog. By Irene Martinko. 28 March 2021.

Backstage Pass Interview with Boca Magazine!

I was thrilled to be interviewed this summer by Boca Magazine about my work on Theatre Lab’s To Fall In Love and Intimacy Direction in general.

The title cracks me up because I’m really the only one in Dade/Broward/Palm Beach doing this work! It’s easy to be premier that way! But huge shout out to my mentor Dan Granke in Tampa. Technically still South Florida, and they are much more gifted than I.

The piece appears in the February 2021 issue. Here’s a link to the online ezine!

Photo by Wide Eyed Studios.

September News Stories about Intimacy Direction, Intimacy Coordination

What Intimacy Direction can Bring to Dance. Dance Magazine. September 2020.

What Playwrights can Learn from Intimacy Directors. A conversation with Gaby Labotka for Howlround. September 1, 2020.

What It’s Like To Be A Black Intimacy Coordinator In The Era Of Consent And Political Resistance. An interview with Tenice Divya Johnson and Sasha Smith. Elle Magazine. September 8 2020.

Tea and Sex Session on Intimacy Direction

Back in July I got to be a guest on the Wilzig Erotic Art Museum’s Thursday afternoon Tea and Sex sessions, talking about intimacy direction!

Here Melissa and I discuss the “what it is”. This is just the first few minutes of an hour-long conversation and interactive session with participants.

Nicole Perry is a guest on the Wilzig Erotic Art Museum's Tea and Sex Thursday afternoon session with Melissa Blundell-Osorio discussing what is intimacy dir...

I talk. A lot. Sometimes people let me talk on their shows.

And this is one of those times!

Jimmy Chrismon, an intimacy direction colleague, hosts ThedTalks, a theatre education podcast. He interviewed me about intimacy direction and Momentum Stage. Check it out here: https://thedtalks.com/podcast/

I have a few more podcast appearances coming up. Stay tuned!

What does Intimacy on Stage Look Like after Corona?

Well, that’s a really bold question, as we have no idea what just being on stage looks like right now!

But, in the past week I’ve had a couple of conversations about this, and I do have some thoughts.

1. Even if we’re “back to normal”, there are going to be performers, directors, and administrators that are more wary of intimacy, especially if those intimate moments would cause a meeting of soft tissues like kissing. I am already in the habit of choreographing a “Plan B” for kisses that can be done in case of actor illness, and understudy stepping in, etc. A good intimacy director/choreographer should have been providing these all along, and they, the director, and the actors involved should all feel just as confident about the story-telling involved in those moments as they do with the kiss. See my earlier post about Plan Bs.

   It is possible that bringing on an Intimacy Director/Choreographer is part of a company’s safety plan. This was raised in a conversation hosted by Directors Lab West yesterday with Ann James of Intimacy Directors of Color and Carly D. Weckstein, an independent sex educator and Intimacy Director (check out the convo here). Bringing in an ID could be a way a company says to their community that they take the physical and mental health of their performers and production crew seriously, and are hiring people with specials skills in doing that.

   Both of these thoughts lead me to #2.

2. Intimacy Directors/Choreographers are Movement Specialists. And movement is still going to be on stage, even if physical contact is not.

   Intimacy Directors/Choreographers are movement specialists (or at least they should be). They have been trained in movement for the stage. Sometimes this aspect gets lost in the more “news-worthy” part of the job- gaining consent, establishing boundaries, hopefully avoiding lawsuits for the company, etc. I came to this work after 10 years of choreographing. I have a Bachelor’s degree in dance. I have studied movement at an even deeper level by obtaining my Laban certification. When I train with IDI, IDC, or TIE, we are given feedback not just on our ability to put best practices in communication into use, but in our choreographic abilities. My job is make sure the story is told, and told well, and that the director and actors feel confident in the performance.

   I believe my in-depth knowledge of movement will make me more of an asset to confident story-telling on the stage, even if the actors must remain apart or not fully physically engaged in the intimacy.

I do believe my role will still be necessary when we get back in space together. For safety and for the sake of the story, I think it will be even more necessary! We’ll see if the industry agrees!

I’d love your thoughts- whether you are a performer, director, producer, or audience member- what would seeing this role in a playbill mean to you pre-Coronavirus? Would it mean the same, or something different after? Leave me a comment!

Movement Analysis of the Creature in The National Theatre's "Frankenstein"

The Making of a Monster

One cool thing to come out of this time of physical distancing is all of the recorded/broadcast theatre being made available. This is especially awesome for shows I would not typically have the opportunity to see, like ones in London! So last night, I watched both versions of the National Theatre’s much-talked about new Frankenstein, starring Benedict Cumberbatch (BC) and Johnny Lee Miller (JLM). These broadcast recordings are available on the National’s Youtube channel until May 7 and 8, depending on the version.

What’s so talked about in this play, you ask? Besides Sherlock on the stage, of course. Well, it’s that the 2 leading men would swap parts, one night playing The Creature, another night the creator. Handling 2 parts of this size, at the same time is pretty amazing, in and of itself. And as a story-telling device, the interchangeability of creature/creator is an interesting concept, especially when you remember that in Frankenstein, the word “monstrous” is used to refer to the Doctor, not his experiment. But, as a movement analyst, I’m going to talk about the specific movement choices made by the actors when they played The Creature, and what that brought to the production.

What is important to know about Laban/Bartenieff Movement Analysis is that this is an observational technique. That means that the observer (me) still has all their own preferences and interpretations about what they are observing. I have reasons for believing that my observations are correct, however, until I actually speak to the actors and their movement director about the choices made, I have no way of knowing if I’m “right”. This production did have a movement director, Toby Sedgwick, who is an incredible master of movement (A movement director is a position I don’t see a lot of theatres employ, and he is a great example of what having one can bring to a production!). I’ve never spoken to him, so I’m not sure how much of a “score” he gave the actors, or what that score was.

***SPOILERS AHEAD***

I started watching the version with BC as The Creature first. In the first 6 minutes, my movement analyst brain was freaking out! Once The Creature is out of “the womb”, he moved through Irmgard Bartenieff’s Patterns of Total Body Connectivity. Bartenieff gave names to Patterns she saw humans move through to achieve what is considered healthy, coordinated development. These don’t happen linearly, so much as overlapping and intertwined, and the ones that come before underpin the ones that come after. The PTBCs are:

1. Breath

2. Core-Distal

3. Head-Tail

4. Upper-Lower

5. Body-Half

6. Cross-Lateral

It is in Cross-Lateral that humans have access to the full 3-dimensionality of their bodies, and coordinated movement. Significantly, in terms of analysis, JLM’s Creature gets to Cross-Lateral movement about a full minute before BC’s Creature does. It is my guess that this is why I, and several of my friends “like” BC as The Creature more. His Creature spends more time discovering himself before moving out.

While he does explore all 6 PTBC’s in his opening scene, BC’s creature spends much of it, and much of the show, in Upper-Lower. This Pattern is where we “get work done” and builds our sense of “personal power”- an incredibly resonant movement choice for The Creature. Upper-Lower helps us push and pull, towards or away, in order to achieve a goal. There is a developing sense of intention. This is why I think BC’s Creature works so well- he is working to achieve a goal, and it is hard work! But, the movement is able to be upright and obviously human-like, without being fully what we identify as human. He only hits the full Cross-Laterality of his movement in moments of extreme (I’m thinking of his spiraling leap in the Scotland lab, in particular).

BC makes really clear choices in the Body category. JLM work in the category of Effort, particularly his choices as regard to Time. The Time element relates to our decision-making, and JLM embraces the Sudden side of the polarity, which totally works for a Creature acting only on impulse. There is no reflection, research, or weighing of options. This gives a sense of urgency to his Creature. The show with BC in The Creature role feels like a developing power struggle- the Doctor losing it as The Creature gains it. The show with JLM in The Creature role has a sense of urgency to it, when it all gets resolved feels more important. I believe this choice drives the scenes he’s in as well, picking up the pace of the entire show.

JLM demonstrates incredible flexibility and fluidity. Which doesn’t quite resonate for The Creature, for me. However, Frankenstein’s line about “balance” when he and The Creature interact after William’s death does better fit this version of The Creature. JLM’s Creature’s movement being more fully developed as Cross-Lateral, with fine motor skills, makes his Act 2 lines about “assimilation” ring even more true. And, therefore makes his following actions even more heinous.

If you want to continue to analyze: A place to really see these different choices (Upper-Lower v. Time Effort) at play, besides the opening, is the fight between The Creature and Frankenstein after Williams’s death: BC over-powers, JLM out-maneuvers.

So. Is one of them “better” than the other? Totally subjective and relates to your preferences. They each embody their character from what I would call a “different category of the system”, and each actor’s choice gives us a very different Creature and story. I’ve set out why I think each actor’s choice works, and I do have a preference! I’d love to hear your thoughts on these 2 versions of the characters and production. Please leave a comment!

Intimacy in a Time of Distance

Tonight should start the 2nd weekend of 2 shows for which I had the honor of creating the intimate moments. Island Song at Measure for Measure Theatre Company and To Fall in Love at Theatre Lab. Both are currently postponed, due to coronavirus limitations in Florida. 

But, I wanted to take this moment to talk about Intimacy Direction/Choreography, because this outbreak raises questions that may not be considered when it comes to staging or performing intimacy in shows. What happens if a performer is sick? Can we still tell the story effectively and well? 

Whenever I choreograph intimacy that includes a kiss, I always choreograph a Plan B. As one of my mentors, Tonia Sina reminds us, “Kissing is the most dangerous thing you can do onstage.” Unlike stage weapons, the soft tissues and bodily fluids are quite real. It’s my job as the Intimacy Choreographer to develop this, not the actors’. It’s my job as the Intimacy Choreographer to rehearse, to make sure the actors are confident in it, and that tech knows what to expect if we go to Plan B. Last week, in one of the shows, we had to employ our Plan B. It took 0 extra rehearsal time, because it had already been set. All it took was a check in with the actors and stage managers at call time. 

I also had a significant case of NOT having to employ plan B, because of how I staged the intimacy. (I hope Island Song reopens, and you get to see it, so I’m going to remain slightly vague about what happens.) Island Song has a number in which every member of the cast is involved in intimacy, in some way, except for 1. Most of them with another member of the cast, some of them alone, but they are all onstage, in various states of undress, involved in various acts of intimacy. What is significant about this number and it’s staging is that not only is the sex simulated, the kissing is too. All of it—  and there’s a lot. 

There exists currently only 1 review of the show, and I don’t know that it will ever be published. But NOTHING in that review makes me think the critic felt it was “fake”, “inorganic”, “inauthentic” or less than. 

I created that scene to look like a lot of people enjoying physical intimacy—  while keeping my actors safe. Part of my decision making was purely creative choice. I wanted the couples to all start the same, and then diverge into various acts. Part of my decision making was time related. I had a lot of people to choreograph, so having something repeatable cut down on my teaching time, giving me an efficient rehearsal. Part of my decision was safety- if I can make actors and the story look good, while keeping them safe, why wouldn’t I?! I don’t give them real swords so “the audience believes the story”. Staged correctly, I don’t need to give them real kisses either. 

Now, not every stage nor every story allows for that. This one did, and I took advantage of it. And on Thursday night last week, I was very, very glad. The actors were able to do their choreography confidently, with no changes. And they looked awesome. Again, I really hope Island Song is able to come back, and you can go see. Then you can tell me if you agree!

If you are a director or an actor that has never worked with an Intimacy Choreographer/Director before, I hope this gives you a different perspective. It’s not just about harassment or abuse. Directors, we really can make your job easier. Actors, we can help you stay healthy. We can help the people who want to do a good job confidently go out and do their jobs. 

When we’re all able to get back to making art together again, I hope you’ll think about hiring an Intimacy Choreographer/Director, even if it’s “just a kiss”. 

And, just in case you hadn’t heard, currently, Theatrical Intimacy Education is recommending that NO shows go forward with intimacy, in rehearsal or in performance. 

February News Stories About Intimacy Direction, Intimacy Choreography, and Intimacy Coordination

Medium. Setting the Stage for Sexual Abuse. By Randy Ginsburg. 27 February 2020.

Montana Kaimin. Intimacy coaching: Keeping actors safe behind the scenes. By Maghan Jones. 26 February 2020.

The Edmonton Journal (Canada). Special Director on Hand to Manage Scenes of Intimacy. 21 February 2020.

The Mail Tribune (Oregon). The ‘Sacred’ of OSF’s Intimacy Director. 17 February 2020.

Oregon Live. Oregon Shakespeare Hires First Full-time Intimacy Director ahead of 2020 Season. 17 February 2020.

CBS Sunday Morning How intimacy coordinators oversee romantic movie, TV scenes. . 9 February 2020.

The Pulse (an NPR Podcast). How Movies Move Us. The segment with Alan Yu includes an interview with Intimacy Director Colleen Hughes. 7 February 2020.

Intimacy Coordinators on Set in Israel. 6 February 2020.

The Lyric Stage (Boston) interviews their Intimacy Director to learn more about the work. 4 February 2020.

The Age (Melbourne, Australia). Rules of engagement: How actors and directors create intimacy on stage. By Louise Rugendyke. 1 February 2020.

Intimacy Direction / Intimacy Choreography Video Series

In my effort to update my website, I realized that this series of videos that I created last summer was living only on YouTube. So here are 8 videos about:

• what is Intimacy Direction

• why you might or might not hire an Intimacy Director

• how I got into Intimacy Direction

• what the scene is like in South Florida

• and more.

  The first video in the series was produced by David Nail and Cliff Burgess. Enjoy!

January News Stories About Intimacy Direction, Intimacy Choreography, and Intimacy Coordination

HowlRound: The Art and Craft of Intimacy Direction by Holly Derr. 30 January 2020.

SAG-AFTRA News Alert about Intimacy Coordinators on Set. 29 January 2020.

NYT: Oregon Shakespeare Festival Hire Resident Intimacy Director by Laura Collins-Hughes. 24 January 2020.

NYT Magazine: The Sex Scene Evolves for the #metoo Era by Lizzie Feidelson. 14 January 2020.

SF Chronicle: A Case for NOT Talking About an Actor’s Sex Appeal by Lily Janiak. 7 January 2020.

CBC News. How is a love scene like a stunt sequence? Both need safeguards, say intimacy co-ordinators. By Jessica Wong. 4 January 2020.

The Time’s Up Foundation. The Time’s Up Guide to Working in Entertainment. 4 January 2020.

Consent Isn't About Sex.

Consent isn’t about sex. It isn’t about touching, or feelings, or legal liability. 

Consent is about seeing the other person in the conversation with you as a full person, with boundaries, agency, opinions, and rights.

In the performing arts, saying “yes”, whether we really mean it or not, has been reinforced over and over again. Especially for those on the performing end.  We need to see “yes”, “no” and “I need more information” as equally valid answers.

Theatres are starting to incorporate consent work into scenes of an intimate nature. The work of Intimacy Directors International and Theatrical Intimacy Education has been to establish these practices. But what about other moments where consent should be requested? 

• Auditions

Theatres who hold auditions without disclosing the productions to be staged, and/or the characters available in those productions. I get that sometimes you are waiting for your rights, and you really need to have auditions. However, consistently holding auditions without telling performers what they are auditioning for is telling performers that their time, preferences, boundaries, and ability to ask questions that matter to them are of no importance to you. That you, as the producing entity, have the right to know what you are looking for, but they don’t. This continues traditional power structures and removes personal agency from your actors.  This may not be what you’ve intended, but it is what happens; and it’s dehumanizing.

• Teaching/Directing

A lot of choreographers and dance teachers especially, instruct with corrective touch. It’s a time honored tradition. However, with 1 in 6 women having been a victim of sexual assault, and approximately 60,000 children assaulted each year, touch from a stranger or authority figure may not be one of the best ways to teach groups any longer. Yoga is doing a better job with trauma-informed practice, and dance and theatre would do well to consider some of their solutions. At the very least, teachers/directors/choreographers should be asking before we touch anyone on any given day. 

Somatic movement pioneer Irmgard Barteniefff said “Tension masks sensation.” If you see a student tensing before you correct them, is your touch even going to be useful? Could your corrections actually be more applicable to more people, if given with evocative language, rather than personal touch? 

Check out this free resource about teaching with a trauma-/touch-informed lens. Purchase Touch card templates here. 

• Being an Audience

Does the audience know what they have agreed to when they enter your space? If your show is “immersive” or contains content that may offend someone, is your audience aware of that before they buy tickets? As they buy tickets? Enter your space? Or only after it has happened? And are they clear on whether or not they can interact with the performers, and the consequences of violating expectations? You may assume your audience has consented, simply by being in your space. But consent requires specific and clear information, and if that hasn’t been given, neither has consent. 

How are you (or is your organization) approaching consent in artistic work? Leave a comment!

Creating a Class or Cast Contract

I have found this practice to be incredibly useful in alleviating behavior issues within classes or casts.

Why have a class or cast contract? 

• Decentralizes Power

  • This is a big one for me, especially when it comes to dealing with young people in the arts. They are dealing with a dual power structure of director or choreographer/actor and adult/youth. Young people often feel they cannot say “no” or ask questions because of this. By creating a contract, the power shifts to the group as a whole shaping the expectations they have of each other, not just what the person in charge wants to see.

• Promotes Buy-in and Accountability

• Clarity of Expectations

  • Safety

  • Participation

  • Attitude

  • Attire

• Success is Built in

Recommendations for creating a class or cast contract:

• Use a posterboard that can hang in your room or a corner of the board that can remain dedicated to this, or post in Classroom or Group Page.

• Stay Small. 5-7 points should be sufficient. Draw connections whenever possible to an existing point. 

• Include:

  • Consequences of Contract violation

  • Chain of Communication if the director/choreographer/teacher violates the contract

  • Any Departmental or umbrella organization expectations/requirements. 

• End with “Have fun!”, “Have a good show!” or similar. This should be just as much an expectation as respect or wearing appropriate footwear. 

• If a hard copy, have every member of the class or cast sign it.

Do you have questions regarding creating or maintaining a class or cast contract? Nicole Perry has experience in using these documents with students as young as kindergarten to adult professionals. Set up your Creative Practice Consultation now. 

How I Became an Intimacy Choreographer

Following the Broadway World press release about my upcoming work with Measure for Measure Theatre company, I got a question about how I got into intimacy choreography. And it seemed like a really good 3rd installment to the intimacy series on this blog.

Vol 1: What is Intimacy Direction? Published in July.

Vol 2: Why do we have/need intimacy directors/choreographers? Published last week.

Vol 3: How did I get become one? Published now.

Past

I took my first intimacy for the stage workshop from Laura Rikard of Theatrical Intimacy Education in the summer of 2018. I searched out intimacy work, not because I had had a negative experience with a scene partner, director, or choreographer. Rather, I wanted to make sure that I, as a teacher and creator, had the best practices available, to do the best job, telling the best story, in ways that served my performers and audiences, that I could!

I had recently choreographed a musical for high school students in which one student was distressed about the onstage kiss, because this student had never kissed anyone, ever. And the director didn’t set it or offer any thoughts or even seem to want to rehearse it with them. Which I do understand, as intimacy with minors is a difficult thing, complete with legal issues on top of power dynamics and teenage hormones. So as the choreographer, I set it- mainly to ease the anxiety experienced by the students.

In doing this, I thought, “It is so weird that there is no standard for doing this!” So, I started looking to see who else was experiencing this and working on these types of encounters. I found TIE and Intimacy Directors International online, and read everything they had in the free resources. Shortly thereafter, the South Florida Theatre League brought in Laura.

I went to the workshop expecting it to be packed! This was amazing, relevant work, that people in all levels of theatre, not to mention dance and opera, would benefit from. It wasn’t. I mean, there was a good group. But for a topic I thought was so important, I expected more humans to be interested.

In that first workshop, I realized how much my own choreographic and performance experiences, and particularly my work in Laban Movement Analysis supported the idea of choreographing intimacy. I also realized that this was a skill that needed more learning and practice.

So, 6 months later, I enrolled in a 3-day workshop for performers, choreographers, and directors with Tonia Sina and Alicia Rodis, 2 of the co-founders of IDI. We learned about the Pillars of the IDI Method, the history of the work, and I even got to practice choreographing.

So, a little on the history. Tonia wrote her Master’s Thesis on Intimacy for the Stage in 2004. This work is not new, nor is it reactionary to the #metoo movement. It has, however, shown its relevance and importance even more as performers are speaking out against the abuses they’ve experienced in their respective rehearsal rooms. And again, this affects not just theatre, but dance and opera as well. But, Tonia was drawn to this work because she saw a need- we choreograph dances and fights. We coach text and dialect. But what do we do to prepare, protect, and professionalize intimate encounters on stage? And she found the answer to be “nothing documented nor consistent”. So, she set out to change that.

After my 3 days with IDI, I was interested in using and pursuing intimacy choreography as part of my creative work. In order to certify with IDI, one needs to have a certain number of hours of training with them. So, my next step was to apply for their 9-Day Choreographers’ Pedagogy Intensive.

I did, and was accepted! I got to train with intimacy choreographers and directors from literally all over the world in May. We were coached by the women leading this field in theatre, from regional to Broadway, and on TV and film. At the conclusion, I felt ready to take this work back to South Florida.

Present

Now, I’m hoping to apply for their apprenticeship program and earn my certification. I’m also going to Salt Lake City in November to work with TIE again. The two organizations have different approaches to the work, and I appreciate what each one has to offer me as a learner and a professional artist.

I’ve also been adding to my learning by taking classes and reading books on mental heath and trauma, conflict negotiation, and ethical issues surrounding touch and intimacy. This is definitely not a field that one can just learn a movement technique and call it a day.

Just this week, a press release went out on BroadwayWorld announcing me as the Intimacy Choreographer for the season at Measure for Measure Theatre here in Fort Lauderdale. I’m so excited to work with this company- they’ve shown a sincere dedication to offering relevant stories to audiences, while honoring the humanity of their artists. That they would be the first South Florida company to have an IC for a whole season fits their values!

Future

My company, Momentum Stage, is bringing in IDI for 1-day workshops in October. Registration will open after Labor Day, so pop over to the website and subscribe to our newsletter so you are the first to be notified!

As I complete my Laban Movement Analysis certification, I’m doing my final project on Intimacy Choreography, and am excited to carve my niche in this work and in South Florida.

I am actively pursuing other contacts, and would love to work with any dance, theatre, or opera company that finds this work valuable! Contact me! As I said in last week’s post, I got into this not because I think the performing arts are full of predators. There are some. But, rather, I believe our arts organizations are full of people who want to do the right thing, and tell meaningful stories. This work, and me, are resources for them.

Thanks for reading all about intimacy! If you found it informative or helpful, please share this blog series with your co-workers, artistic leaders you know, etc. And leave me a comment! Do you still have questions about intimacy- what or why it is, my story? Leave them in the comments! I love talking about this!