Our repertoire contains work by the following choreographers:

Joshua Beamish, Rohan Bhargava, Janis Brenner, PeiJu Chien-Pott, Seán Curran, Norbert De La Cruz III, Erin Dillon, Da’ Von Doane, Wendell Gray II, Alia Kache, Gabrielle Lamb, Zara Lawler, Miro Magloire, Annie Nikunen, Leigh Schanfein, Helen Simoneau, Katarzyna Skarpetowska, Annalee Traylor, Manuel Vignoulle, Hannah Weber, Hee Ra Yoo, and Evita Zacharioglou

and the following composers:

Kati Agócs, Leah Asher, Bach-Busoni, Richard Carrick, Elliott Carter, James Holt, Shawn Jaeger, Jonathan Howard Katz, Mary Kouyoumdjian, Anne Leilehua Lanzilotti, Annie Nikunen, Hilary Purrington, and Harry Stafylakis

We’ve performed at the following venues:

Jacob’s Pillow Dance, Symphony Space, Mark Morris Dance Center, GK ArtsCenter, Roulette, Kumble Theater at LIU Brooklyn, Ballet Hispanico, Arts On Site, Spectrum, Peridance Capezio Center, Soapbox Gallery, ShapeShifter Lab, Steps on Broadway, Dixon Place, Elebash Hall, the Actors Fund Arts Center, the Secret Theatre, LeFrak Concert Hall (Queens College), Opperman Music Hall (Florida State University)

For a rundown of the artists we’ve presented through our service programs, visit our services page.

Read about us here in a 2017 feature in Dance Informa magazine!

Reviews:

Jerry Hochman in Critical Dance about our program UNBEKNOWNST:

“[The Subject is] far more noteworthy as a dance for Katz’s piano composition that itself directs (or reflects) Zachariogiou’s choreography, and even more so by the extraordinary movement images that Zacharioglou has created and for the control and precision-timing required for her to make the dance look as unusual as it does. . . . [I]t’s great fun, and Zachariogiou’s inventiveness and top-flight execution makes it continuously interesting to watch.”

“And there are moments of movement gems—one split-second action, like the tug of one’s foot or hand on the other’s leg that triggers a reaction in the other—that take Unbeknownst beyond simple entanglement into something that’s visually profound.”

Mary Seidman in Eye on Dance about SPLIT:

“Geometric floor patterns and shifting geometric shapes, in unison and oppositional duet configurations, explored the musical dynamics impeccably.”

Glenna Yu in Dance Enthusiast about our program ORACLE:

“[T]he dancers bring a depth of character and intention to the choreography that is missing from many dance pieces today . . . . While the mission of Periapsis is to foster collaboration between music and dance, all four pieces also expertly blended elements of dance and theater to create a rich experience.”

“In [Oracle], the dancers exhilarate in the movement, each bringing their unique approach to Norbert De La Cruz III’s choreography while staying connected to and relating with each other.”

“Erin Dillon leans into the drama of the role [in Elle ne m’aime pas] beautifully . . . giving a drunken bravura performance, at times even stepping up to the microphone to sing.  . . . As the focus of the piece transitions from the relationship between Dillon and the wine to the relationship between Dillon and Katz, the tone shifts from being humorous to finding the intimacy and vulnerability between these two characters. The performative aspect of Dillon’s character is stripped away. Her movement becomes quieter and we zero in on small details—her fingers walking down her leg, her toe slowly curving towards the floor in the moment right before it makes contact.”

“Encaged . . . draws us deep into the dancer’s psyche through the repetition, transformation and fragmentation of specific movements.  . . . With each repetition, not only the orientation of the movement but also the performance changes, reflecting how even as these default patterns stay the same, the character and her relationship to them changes.”

Cecly Placenti in Critical Dance about The Portrait Project:

“Like the other pieces on the program, yet completely unique to Vignoulle’s vision, Twine plays with the music, speaks to it, in lush suspensions and ultra quick, cat-like movements. The fluid quality of both the music and the dance is especially pleasing . . .”

“In Reflection by Katarzyna Skarpetowska, . . . [d]ancer and musician seamlessly switch roles and use the bench and each other as supports. McGowan is an intense and magnetic dancer. Technically strong and expressive, my eye is drawn to her over and over . . .”

“Dancer Erin Dillon embodies the quirky intricacies of Curran’s choreography beautifully, at times sinuous and fluid, at others percussive and staccato.”

Sofia Stempek in informal floor about our inaugural concert:

“From the last, Periapsis is urgent and wonderfully greedy with time and space. . . . Dance and music are often linked, and in Periapsis neither art form upstages the other . . . making no part of the evening unsatisfying.”