Repertoire

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Invigorating audiences by bringing them the best renowned, and emerging choreographers' work. The Big Muddy Dance Company is known for its diverse, engaging, and entertaining repertoire.

*click the title for more information about each piece, and choreographer's name for biographical information on the artists.

Geoffrey Alexander

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Geoff was born and raised in St. Louis. His journey to dance began with gymnastics, which he practiced from the age of seven to sixteen. During his sophomore year in college he began his dance training and in 2011, he earned a BFA in theatre and dance from Southern Illinois University, Edwardsville. After graduating, he worked as a dancer, choreographer, and instructor for aTrek Dance Collective and the Dance Co-op. Geoff was hired to perform with The Big Muddy in fall of 2011. He has choreographed on the Ashleyliane Dance Company, the SIUE dance department, and the Southeast Missouri State University dance department. Geoff currently works with the company's pre-professional training program by teaching, choreographing, and mentoring aspiring dancers.

Thom Dancy

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Thom studied ballet at the University of Oklahoma under Mary Margaret Holt, and accepted summer scholarships to Hubbard Street Dance Chicago and The Joffrey Ballet School. As a concert dancer he has worked for Milwaukee Ballet, Grand Rapids Ballet, and The Big Muddy Dance Company. Thom is also a member of Actors' Equity and has performed at The MUNY in Hello, Dolly! and My Fair Lady (2015), as well as in State Fair with the Ohio Outdoor Historical Drama Society. He has originated principal roles in works by Kate Skarpetowska, Victor Alexander, Brian Enos, and Harrison McEldowney. Thom also works as one of The Big Muddy's in-house choreographers.

Dustin Crumbaugh

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Dustin Crumbaugh (Houston, TX) began his formal dance training at Houston Metropolitan Dance Company's pre-professional second companny, Houston Met Too. Since graduating high school, he spent two years as a dance major at Point Park University where he performed works by renowned choreographers such as Margo Sappington, Robert Battle, and Harrison McEldowney. He completed his traineeship with Ballet Austin, where he performed works by Stephen Mills, Gina Patterson, Septime Weber, and Dwight Rhoden, and trained at LINES Ballet, where he studied under master teachers such as Alonzo King, Maurya Kerr, and Amy Raymond. Dustin joined Houston Metropolitan Dance Company as a professional company member in 2005, and in 2007 joined Luna Negra Dance Theater under the direction of Eduardo Vilaro, performing works by Edgar Zendejas, Alejandro Cervera, and Gustavo Ramirez Sansano. He then danced on scholarship at Hubbard Street Dance Chicago and participated in Springboard Danse Montreal, working with Jose Navas/Cie Flak and Julian Barnett. In 2009, he performed with Cerqua Rivera Dance Theater until joining The Big Muddy Dance Company in 2011, with whom he has performed works by Lauri Stallings, Lou Conte, Paula David, and Harrison McEldowney. As a member of The Big Muddy since 2011, Dustin co-directs the Convergence Trainee Program alongside Brian Enos.

Robert Moses

Robert Moses

Since founding Robert Moses' Kin in 1995 in San Francisco, choreographer Robert Moses has created numerous works of varying styles and genres for his highly praised dance company. His work explores topics ranging from oral traditions in African American culture (Word of Mouth, 2002), the life, times, and work of author James Baldwin (Biography of Baldwin, 2003), and the dark side of contemporary urban culture (Cause, 2004), to the nuanced complexities of parentage and identity (The Cinderella Principle, 2010), and the simple joys of the expressive power of pure movement (Toward September, 2009). Moses has worked collaboratively with numerous artists and organizations, among them Julia Adam, Margaret Jenkins, Alonzo King, Sara Shelton Mann, Joanna Haigood, SoVoSo, Marcus Shelby, Keith Terry, Frank Boehm, Will Power, Somei Yoshino Taiko Ensemble, Bill Morrison, Ann Galjour, David Worm, Kid Beyond and Youth Speaks. Since 2008 Moses has composed original scores for several of his dances.
 
In addition to his work with Robert Moses’ Kin, Moses has choreographed for San Francisco Opera (La Forza del Destino, 2005), Philadanco, Cincinnati Ballet, Eco Arts, Transitions Dance Company of the Laban Center in London, African Cultural Exchange (UK), Bare Bones (UK), Oakland Ballet, Moving People Dance, and Robert Henry Johnson Dance Company, among others. He has choreographed for film, theater and opera, with major productions for the Lorraine Hansberry Theater, New Conservatory Theater, Los Angeles Prime Moves Festival (L.A.C.E.), and Olympic Arts Festival.
 
Robert Moses’ Kin has received significant funding from the National Endowment for the Arts, New England Foundation for the Arts, William and Flora Hewlett Foundation, James Irvine Foundation, Wallace Alexander Gerbode Foundation, San Francisco Arts Commission, California Arts Council, San Francisco Hotel Tax Fund, and San Francisco Foundation, among others. The company is the recipient of three Isadora Duncan Dance Awards, the Bonnie Bird North American Choreography Award, the SF Weekly Black Box Award for Choreography, and the SF Bay Guardian Goldie Award in Dance. RMK has performed at many nationally esteemed venues such as the Jacob's Pillow Dance Festival, Fall for Dance/City Center, Bates Dance Festival, Colorado Dance Festival and Black Choreographers Moving Toward the 21st Century. The company performs its annual home season at San Francisco’s Yerba Buena Center for the Arts.
 
In 2005 Moses was named Choreographer-in-Residence and Artistic Director of the Committee on Black Performing Arts at Stanford University, where he has been on the dance faculty since 1995. An alumni of California State University Long Beach and a highly regarded master teacher, Moses has taught on campuses and at festivals throughout the United States, including Bates Dance Festival, Colorado Dance Festival, Goucher College, UC Berkeley, UC Davis, University of Texas, and University of Nevada. Moses has been a returning guest artist at the Northwest Dance Project and a mentor with Choreographers in Mentorship Exchange (CHIME). He conducts movement and performance workshops internationally, most recently for artists of African descent with State of Emergency Limited in the United Kingdom.

Kameron N. Saunders

Kameron N. Saunders

Kameron N. Saunders was born in St. Louis, MO. He currently attends Webster University studying as a dance major to attain his Bachelor of Fine Arts. He graduated from Metro Academic & Classical High School while doing his dance training at COCA (Center of Creative Arts). There he studied ballet, modern, jazz, hip hop, and choreography; all a part of their Pre-Professional Program. His performance experience includes COCADance and Ballet Eclectica, which are COCA's two student dance companies. He also performed with Afriky Lolo; a West-African dance company in St. Louis, MO under the direction of Diadie Bathily and the Slaughter Project: a St. Louis-based modern dance with artistic director Cecil Slaughter. Kameron has worked with renowned artists such as Alicia Graf Mack, Antonio Douthit, Jon Lehrer, Kate Skarpetowska, Kirven J. Boyd, Cecil Slaughter, Lara Teeter, and Daisha Graf. During his senior of high school Kameron set a work entitled ‘Tested Boundaries’ on Alicia Graf Mack of the Alvin Ailey American Dance Theater. In the spring of 2011 Kameron entered the National Society of Arts and Letters “Art of the Solo” choreography competition where his work ‘Runner’ won first place in the St. Louis chapter sending him to compete nationally in Birmingham, Alabama where he won fifth place. His greatest passion is choreography and his biggest aspiration is to own a contemporary ballet company and dance school to give back to the community and the world of dance.

Autumn Eckman

Autumn Eckman

Autumn Eckman is a critically acclaimed Chicago based choreographer, teacher and performer. An Atlanta native, she received her early classical training from the Atlanta Ballet, Capital City Ballet under Tom Pazik and Kathryn McBeth, Susan Banks Bebee and Patricia Bromley. She is a graduate of the Houston Ballet Academy where she attended on full scholarship. A former principal dancer with State Street Ballet, she has also been a member of Hubbard Street Dance Chicago, Luna Negra Dance Theater, Giordano Dance Chicago, Lucky Plush Productions, RPM Productions and Ron De Jesus Dance. She is currently a member of The Cambrians, a Chicago company led by former Hubbard Street colleague, Benjamin Wardell. Autumn's directorial credits include: Director of Giordano II and Assistant Artistic Director/Resident Choreographer of Giordano Dance Chicago. As the 2014 Artist-In-Residence for State Street Ballet in Santa Barbara, she recreated a full length version of the ballet Scheherazade. She created nine original works for the Giordano Dance Chicago and has also set works for companies and universities including DanceWorks Chicago, Missouri Contemporary Ballet, Chicago Repertory Ballet, Contemporary Dance South, Big Muddy Dance Company, University of Wisconsin Stevens Point and Western Michigan University. Her works have been presented throughout the United States as well as Germany, Mexico, Turkey, Austria and Israel. She was the recipient of the 2013 Choreographic Fellowship at the University of Kansas where she was commissioned to set her piece Yes, And...! Her choreographic voice has been described by the Chicago Tribune as "mixing solid design with color and sparkle", and was recognized by Dance Magazine's Wendy Perron for her work "JOLT" for the Giordano company as a 2012 Top Pick.. She was named a " Top Player in the Arts" in Newcity Publication, a "Stand-Out Choreographer" in the Chicago Tribune, and an awardee of " New Choreographic Voice" for Dance Chicago. Autumn serves on faculty for several Chicago companies and schools, and has been an Instructor of Dance at Northern Illinois University since 2009. She instructs all levels in classical and contemporary ballet, modern, jazz, improvisation and composition. She is currently an MFA in Choreography candidate (Teaching Assistantship) at the University of Iowa and will graduate in the Spring of 2017.

Penny Saunders

Penny Saunders

Penny graduated from the Harid Conservatory in 1995. She then began her professional career with the American Repertory Ballet under the direction of Septime Webre, danced with Ballet Arizona and MOMIX, and was a founding member of Cedar Lake Contemporary Ballet (then Cedar Lake Ensemble). In 2004, Saunders joined Hubbard Street, where she began to pursue her choreographic interests, creating for Hubbard Street 2 in 2011 through its International Commissioning Project, and premiering her first work for Hubbard Street’s main company in 2013. She has since choreographed for the Nexus Project, Owen/Cox Dance Group, SFDanceworks, Whim W’Him, Grand Rapids Ballet, and Neos Dance Theatre as a choreographer in residence at the University of Akron. In 2015 Saunders returned to Hubbard Street’s main company and began a three-year choreographic residency with Grand Rapids Ballet. She thanks her lovely husband and beautiful son for all of their support.

Ashley McQueen

Ashley McQueen

Ashley McQueen is originally from Montgomery, AL and  began dancing with the Alabama Dance Theatre under Kitty Seale and Foye DuBose. She received training from Alvin Ailey American Dance Theater, American Ballet Theater, Mark Morris Dance Group, Paul Taylor Dance Company, and the Alabama Ballet. Ashley attended Birmingham-Southern College before transferring to Webster University and graduating with a BFA in Dance, Ballet Emphasis (with honors). While at Webster, Ashley performed works by Antony Tudor, Michael Uthoff, James Robey, Maurya Kerr, Kathy Diehl, Jennifer Huffman, and Omar Olivas. During the summer of 2013, Ashley studied in Thailand under the direction of Pichet Klunchun and Patravadi Mejudhon at Vic Hua Hin. There she performed excerpts from Klunchun’s “Black and White,” as well as her own choreography. Ashley choreographed works for Southern Danceworks, Alabama Dance Theatre and Arova Contemporary Ballet (where she danced professionally for a season in 2011).  Ashley’s works have been performed at Southeast Regional Ballet Association Festival performances, St. Louis National Dance Week, and the American College Dance Festival.  Ashley received  the Monticello Award and full tuition scholarship to attend the National Choreography Intensive as both a dancer and choreographer; as well as a scholarship to the Glenda Brown Choreography Project.

Emily Ramirez

Emily Ramirez

Born in Pasadena, TX, Emily Ramirez discovered her passion for choreography as a student and has continued to create diverse and original works throughout her professional dance career. She has choreographed on members of BalletMet, Charlotte Ballet, and the Big Muddy Dance Company as well as numerous students in ballet schools across the country. Ms. Ramirez has also created works for the Youth America Grand Prix, BalletMet's Dance with the Dancers Gala, and Columbus' Dance Compassion Project which raises funds for AIDS research. In 2008, she won first place in the city-wide Columbus Choreographic Project in for her piece, Thrills are Cheap, Love Divine.  

Ms. Ramirez trained at Adamson Ballet School, Houston Ballet Academy, and the High School for the Performing and Visual Arts. Since then, she has been honored to perform dozens of principal and featured roles with companies including Houston Ballet II, BalletMet, Charlotte Ballet, and Sandra Organ Dance Company. She has also been a featured guest artist with the National Choreographer’s Initiative in Irvine, CA, Moving People Dance Festival in Santa Fe, NM, and Blue Lake Fine Arts Camp, where she toured through Germany and France performing the role of “Kitri” in Don Quixote.

When she isn’t dancing her heart out or creating dynamic works on some of the world’s loveliest performers, Ms. Ramirez enjoys spending time in nature, belting show tunes, cuddling with her two tiny dogs, and cooking extravagant meals with her wonderful husband, Chase.

Brian Enos

Brian Enos

Originally from San Francisco, CA, Enos has been choreographing since age 14. When he was just 18, and still a student in the Houston Ballet Academy, Enos was invited by artistic director Ben Stevenson, O.B.E. to create his first work for Houston Ballet. He has since gone on to create works for companies such as Hubbard Street Dance Chicago, Ballet Met, Nashville Ballet, Grand Rapids Ballet, and DanceWorks Chicago, among others.

Enos was named “Best up and coming choreographer” by the Houston Press. and was also a winner of the annual Hubbard Street 2 International Choreographic Competition.

As a dancer, he spent several years performing with The Houston Ballet before embarking on an eight year career as a dancer and choreographer with Hubbard Street Dance Chicago.

Michael Uthoff

Michael Uthoff

Michael Uthoff, internationally renowned artistic director,choreographer, teacher and dancer, assumed the newly titled post of artistic and executive director of Dance St. Louis on July 1, 2006.

Uthoff was born in Santiago, Chile, to former dancers, Ernst Uthoff and Lola Botka, both of the Jooss Ballet and founders of the Chilean National Ballet. He started dancing after high school and a year later arrived in New York to attend the Juilliard School of Music, School of American Ballet, and Martha Graham School of Contemporary Dance. He danced with the José Limón Company and was a principal dancer with the Joffrey Ballet.

Abdur-Rahim Jackson

(Philadelphia, PA) For the first eight years of Abdur’s life, Arabic was his only language and the fluidity of its sounds and lettering define how he sees and creates movement. His vast array of training, ranges from musical theater and African dance in Philadelphia to receiving a Bachelor Degree of Fine Arts from The Juilliard School, performing around the world with The Alvin Ailey American Dance Theater for a decade, and appearing as a guest artist with Cedar Lake Contemporary Ballet for their debut performances in Lyon and Paris, France. He has taught Master Classes at the International Dance Association in Ravenna, Italy and Steps on Broadway Premier Dance Studio in New York City, was Adjunct Professor at Marymount Manhattan College and Assistant Ballet Master at Cedar Lake Contemporary Ballet. He has created ballets for The Alvin Ailey American Dance Theater and Complexions Contemporary Ballet. He co-choreographed Beyonce’s “Halo” music video and choreographed fashion/dance shoots for VIBE and PAPER Magazines. He recently appeared on NBC’s hit television series SMASH and choreographed the LED section of Beyonce’s “Crazy in Love” Super Bowl XLVII Halftime performance on CBS.“The intricacy of the human body and spirit is my canvas. I create movements that challenge physical and emotional possibilities. A body of work that dances into audiences souls” -Abdur-Rahim Jackson

Katarzyna Skarpetowska

Skarpetowska is a native of Warsaw, Poland. She is an alumna of the NYC High School of Performing Arts and received a BFA from The Juilliard School in 1999 under Artistic Director Benjamin Harkarvy. In 1992, at age 15, she was the youngest cast member of the Broadway show, METRO, directed and choreographed by Janusz Jozefowicz. Kate was a member of The Parsons Dance Company from 1999 until 2006 where she performed lead roles in the company’s repertory including the iconic CAUGHT. Since 2007, she has been working for The Lar Lubovitch Dance Company performing at many reputable venues such as New York City’s City Center, Washington DC’s Kennedy Center and Moscow’s Bolshoi Theater. Over the years, she repeatedly appeared as a guest artist first with The Battleworks Dance Company and then The Buglisi Dance Theater and in 2007, she was one of two featured dancers during the Glimmerglass Opera Festival. In 2008 she toured Italy with WHY BE EXTRAORDINARY IF YOU CAN BE YOURSELF, a show by Daniel Ezralow. Skarpetowska has had the privilege of setting the works of Lar Lubovitch, David Parsons and Robert Battle in the United States and abroad. Her choreography has been performed by Alvin Ailey American Theater II, Lar Lubovitch Dance Company, Parsons Dance, Buglisi Dance Theater, Houston Metropolitan Dance Company, Big Muddy Dance Company, Hubbard Street 2 and various universities. In 2009, she co-designed and co-directed Romeo and Juliet for The Gunter Theater in Greenville, SC. Skarpetowska is also a freelance teacher holding workshops throughout the world. She resides in New York City. www.skarpetowska.com

Robyn Mineko Williams

Robyn Mineko Williams

Williams created her first work in 2001 for Hubbard Street’s Inside/Out Choreographic Workshop, continuing to participate in subsequent seasons. In 2010, she and Hubbard Street 2 Director Terence Marling co-choreographed Harold and the Purple Crayon: A Dance Adventure, a full-length work premiered at the John F. Kennedy Center for the Performing Arts and presented since in Chicago, Detroit, Tucson and other cities, as well as at the American Dance Festival. In January 2012, Williams created Recall, a new work for Hubbard Street Dance Chicago's main company which premiered at the Museum of Contemporary Art in Chicago, was adapted by Williams for a special performance on the Grand Staircase at the Art Institute of Chicago, and was commissioned by NYC's Joyce Theatre in 2013. Williams continues to make numerous works for the company and recently contributed to The Art of Falling, a full evening production by the artists of The Second City and Hubbard Street Dance Chicago in 2014.

Williams has made works for Grand Rapids Ballet, Visceral Dance Chicago, Peridance Contemporary Dance Company and the Nexus Project. She was selected as an E-choreographer in 2013 for Springboard Danse Montreal, was one of two winners of Northwest Dance Project's International Choreography Competition, is the recipient of a 2013 Choreography Fellowship from the Princess Grace Foundation–USA and a 2015 Princess Grace Works in Progress resident at the Baryshnikov Arts Center in New York City. Robyn Mineko Williams is a dancer and choreographer from Chicago, Illinois. She was a member of River North Chicago Dance Company (now River North Dance Chicago) for four years before joining Hubbard Street Dance Chicago in 2000. During her 12 years as a company member, Williams performed works by renowned dancemakers including Ohad Naharin, Jiří Kylián, Nacho Duato, William Forsythe and Johan Inger, and originated roles in new choreography by Jorma Elo, Alejandro Cerrudo, Sharon Eyal, Aszure Barton, Twyla Tharp, Lar Lubovitch and others.

Brandon DiCriscio

Brandon DiCriscio

Brandon grew up in Wilmington, Delaware receiving his initial training from Anna Marie and Sonny Leo. He then went on to pursue a B.A. in Dance at Point Park University. While in school he was apprenticing at River North Dance Chicago, and then became a company member in 2007. He danced with the company until November of 2011. Different choreographers he has worked with include, Lauri Stallings, Robert Battle, Frank Chaves, Sherry Zunker, Sidra Bell, Edgar Zendajas, Ron De Jesus, Doug Varone, Shannon Gillen, and Gustavo Ramirez Sansano. While at Springboard Danse Montreal he worked with BJM Danse Montreal under the direction of Louis Robitaille. Brandon also has apprenticed with Luna Negra Dance Theatre. In Chicago he regularly teaches at the Lou Conte Dance Studio, and Legere Dancer Center. He recently won the choreography competition for Dance Chance Redux 2011, sponsored by the Ruth Page Foundation and DanceWorks Chicago.

Lauri Stallings

Lauri Stallings

Lauri Stallings is a contemporary artist whose language of physical gesture is an exploration of the literacy that comes from inner technologies of the human body. This is done in order to connect people to spaces and for storytelling. An alum of world-renowned Hubbard Street Dance Chicago, Stallings is a recent nominee for the 2012 Rome Prize for her ongoing experiments with journey as a form in contemporary performance. Stallings is the inaugural Artist in Residence of Kennesaw State University’s Department of Dance.

Commissions for the stage include American Ballet Theater (NY), Ballet Augsburg (Germany), Ballet British Columbia (Canada), Hubbard Street Dance (Chicago), DanceLINES Royal Opera House (UK), Julliard (NY), and Jacob’s Pillow (MA). A 2011 Bolgliasco Fellow (Italy), Stallings has garnered Emory University’s inaugural 2010 “Artist Impact Award,” a 2009 Benois de la Danse nomination (Moscow) for her big, a collaboration with world hip-hop star Big Boi of OutKast; Dance Magazine’s “25 to Watch,” Chicagoan of the Year (2004), and Chicago Music and Dance Alliance’s Ruth Page Award (2005).

Stallings’ works for gloATL include rapt, amidst architect Renzo Piano’s Woodruff Arts Center campus; Bloom, the inaugural work of Flux Projects; and Liquid Culture, a series of “utopia stations” culminating at Sol Lewitt’s 54 Columns. Stallings’ gloATL creations for the stage include the full-evening work Halo (Duo Theatre NYC), Plum Line Revisited, Joyce Theater (NY), and in 2011, Maá, a multi-disciplinary work with Conductor Robert Spano of
the Atlanta Symphony Orchestra and Georgia Tech’s Sonic Generator set to Finnish composer Kaija Saariaho’s score of the same name, premiere Atlanta Symphony Hall.

In 2011, Stallings curated Off the Edge, the first contemporary dance Festival in Atlanta, Georgia, in partnership with Rialto Center for the Arts and Kennesaw State University Department of Dance. The occasion was a critical success. Stallings and the gloATL Team continue their vision of Atlanta as a dance city in 2012-13 with Tanz Farm, a season of contemporary performance dialogue for Atlanta and inter/national artists, in partnership with The Goat Farm Arts Center, at gloATL‘s creative home, Goodson Yard. Stallings’ upcoming works include 360 Dance (NY), Laban Institute (UK), Hippodrome, a full evening, new creation with Sonic Generator Music Ensemble and Visual artist Gyun Hur, and Livers:REMIX, for the International Aqua Art Fair during Art Basel Miami Beach (December, 2012).

Antonio & Kirven Douthit-Boyd

Antonio Douthit-Boyd

Antonio (St. Louis, MO) began his dance training at age 16 at the Center of Contemporary Arts under the direction of Lee Nolting and at the Alexandra School of Ballet. He also trained at North Carolina School of the Arts, the Joffrey Ballet School, San Francisco Ballet, and the Dance Theatre of Harlem School. Mr. Douthit became a member of Dance Theatre of Harlem in 1999 and appeared in featured roles in the balletsSouth African Suite, Dougla, Concerto in F,Return, and Dwight Rhoden’s Twist. He was promoted to soloist in 2003. He also performed with Les Grands Ballets Canadiens de Montréal. Mr. Douthit has been a company member with Alvin Ailey American Dance Theater since 2004.

Kirven Douthit-Boyd

Kirven James Douthit-Boyd (Boston, MA) began his formal dance training at the Boston Arts Academy and joined Boston Youth Moves in 1999 under the direction of Jim Viera and Jeannette Neill. He also trained on scholarship at the Boston Conservatory and as a scholarship student at The Ailey School. Mr. Boyd has danced with Battleworks Dance Company, The Parsons Dance Company, and Ailey II. He performed at the White House tribute to Judith Jamison in 2010. Mr. Boyd has been a company member for Alvin Ailey American Dance Theater since 2004.

Ricardo Moyano

Ricardo Moyano

Originally from Argentina, Ricardo has studied dance with Carol Walker, Richard Arve, Marjorie Mussman, Larry Long, and Lou Conte. He began his professional career with Richard Arve Modern Company and later danced principal and soloist roles at Chicago Ballet, San Diego Ballet, Dayton Ballet, and Pittsburgh Ballet Theater. Most recently, Ricardo performed with Hubbard Street Dance Company where Lynn Taylor Corbit set "GO SAID MAX" on him. He also performed as a principal dancer in John Butler's "Carmina Burana" during his three years with San Diego Ballet. Critic reviews read, "Ricardo Moyano is a powerful dancer with a compelling presence."
Ricardo is also renowned for his choreography. He set ten works for the San Diego Dance Ensemble while serving as their director. He choreographed and performed his critcally acclaimed "Getting Out" throughout the U.S. and Europe. Ricardo was awarded the Illinois Arts Council Fellowship Grant for choreography and created five original works for Chicago dance companies.

He was invited by Stuart Sebastian, director of Dayton Ballet, to create one of his most stunning works, "L'Arc De Triomphe." Ricardo has taught ballet and jazz for numerous dance companies. From 1986 to 1988, he taught master classes in Muster, Bonn, and Ahem, West Germany, performing with Tanztheater Werkstatt. His teaching experience includes Ruth Page Foundation, Lou Conte Dance Studio, Gus Giordano Dance Center, and numerous studios throughout the U.S. Ricardo is resident choreographer and co-director of DanceWest Ballet and the School of DanceWest Ballet.

Marc Wayne

Marc Wayne

For over twenty-five years, Marc has made his living as a professional entertainer. As dancer, choreographer, actor, singer, director, educator, and speaker, this seasoned professional has traveled coast to coast performing for audiences of over 71,000 people.
Marc began his training with Jeri Pinnell in a small one-room studio in Gahanna, Ohio. He received his collegiate education at The Ohio State University in Columbus, Ohio where he majored in dance. He then continued his career and studies in Chicago where he studied at various studios including Gus Giordano Dance Center, Conservatory Of American Dance, and Joel Hall Dance Center.
His performing experience includes screen, television, and stage in music videos, video series, commercials, industrials, movies, musicals, amusement parks, and five US tours.

Titles include Carman's Raising The Standard and R.I.O.T. tours, Barnum, Guys & Dolls, The King & I (playing the role of the King), Teachers, Cold Justice, Terminal (2012 release), Bibleman, Dramatic Truth’s Mystery of Christmas (playing the principal role of “God” for 8 of 11 seasons), Störling Dance Theater's Prodigal Daughter, Butterfly, Suspended Grace, Little Match Girl, and Underground. His creative experience includes Fiddler On The Roof (director, choreographer), Guys & Dolls (choreographer), Joseph And The Technicolor Dreamcoat (choreographer), The King & I (choreographer), Störling Dance Theater, the Kansas City Chiefs Cheerleaders, Maxxas Dance Theatre's Genesis, "R", and 3DAYS (choreographer/director/producer/writer),
He has worked with and shared the stage with such artists as Carman, Willie Aames, Amy Grant, Ron Kenoly, Ben Vereen, and organizations and companies that include Dr. Pepper, KFC, Kings Island, Pamplin Entertainment, Nexxus, Never2Late Productions, MGM, and Eastman Films.

Marc's company work includes Chicago based modern companies, CHICAGO MOVING COMPANY and CHICAGO DANCE MEDIUM and jazz and tap company, CHI-TOWN JAZZ DANCE. Also included is Kansas City based companies; DRAMATIC TRUTH BALLET THEATRE (founding member STÖRLING DANCE THEATER, guest appearances with Jackson, Mississippi based ballet company, BALLET MAGNIFICAT, and his own highly acclaimed contemporary jazz/modern company, MAXXAS DANCE THEATRE.

Marc's joy is working with young people of all ages. Affirming their purpose and transforming that confidence, into their performance of art and life. His infectious zest for life and performing, has taken him as choreographer, director, speaker, educator, and judge to countless studios, churches, camps, workshops, master classes, and competitions across the United States, Bahamas, and Jamaica, sponsored by such organizations as Dance Revolution, Ad Deum, Ballet Magnificat, the Continental Singers, Dramatic Truth School of the Arts, the Kansas City Chiefs Cheerleaders, The Chicago National Association of Dance Masters, and (at present) The Culture House Academy of the Performing Arts Dance Music Theater.
Marc and his incredible wife Anne have seven children, Caleb, Mikayla, Noah, Madeline, Zion, Elisabeth, and Emma (...and yes, we are done!).

Sam Watson

Sam Watson

Sam began his dance training at Northern Kentucky University where he studied Graham Technique. Mr. Watson performed with Gus Giordano Jazz Dance Chicago and served on the faculty of the Giordano Dance Center for over ten years. Sam was a member of The Chicago Repertory Dance Ensemble from 1983-1990, performing principal roles of international choreographers including Paul Taylor and Lar Lubavitch. He contributed several works to CRDE's repertoire including choreography premiered at the World Expo '88 in Brisbane, Australia and was selected along with choreographer Christina Ernst to co-direct a chamber company of CRDE called Ernst/Watson Dance. His work has been sponsored by the Illinois Arts Council, Chicago Office of Fine Arts, Chicago Artists Abroad, and the NEA's Arizona Dance on Tour Project.
In 1990, Mr. Watson was based in Palm Springs, California where he formed Wats On Dance, touring year round in guest appearances in such events as the Jazz Dance World Congress in Chicago, Washington D.C., Nagoya Japan and Wiesbaden Germany; The Arizona Jazz Dance Showcase, Tucson, Arizona, The ARENA 225 International Summer Course in Zurich, Switzerland and with numerous local dance groups and organizations across the U.S. His choreography can be seen in the repertoire of numerous dance professional dance companies including Giordano Jazz Dance Chicago, River North Dance Company, Aspen/ Santa Fe Ballet, Ohio Ballet, Ballet Tucson and Moving People Santa Fe. Sam served as Guest Artist in Residence at The University of California in San Diego and The University of Nevada Las Vegas before joining the UA School of Dance faculty in 1999.

Harrison McEldowney

Joshua Manculich

Harrison has created original dances for special occasions of the 97th Birthday Celebration of noted dance historian, critic, and friend Ann Barzel, the Finale for Dance Chicago’s 10 Year Anniversary, a work to open the 10th Anniversary of Dance for Life, and for the past five years original pieces for Dance for Life. This includes in 2010 the first time in its 19-year history an outside choreographer has been asked, to create its world-premiere finale. His choreography may be seen on dance companies around the world including Hubbard Street Dance Chicago, Hubbard Street 2, River North Chicago Dance Company (his work was featured as well on both companies nationally televised specials and a HSDC2 special aired in Europe), DanceWorks, the Civic Ballet of Chicago, the Cerqua/ Rivera Art Experience, Ballet Met, Louisville Ballet, Ballet Ensemble of Texas, American Repertory Ballet, Configurations, Omaha Theater Ballet, and Eisenhower Dance Ensemble. Harrison is the inaugural recipient of the Prince Prize and has received the Ruth Page, After Dark, and Choo-San Goh Awards for choreography. He choreographed the 35th Anniversary Tour of American Bandstand and directed the Australian Tour of More Dirty Dancing. Harrison has done film, television, concert dance, Broadway, off- Broadway, the West End, Carnegie Hall, and danced in and co-choreographed the Atlanta portion of the Barcelona Olympics’ Closing Ceremonies. He has also worked with stars Sammy Davis Jr., Van Johnson, Chita Rivera, Dorothy Lamour, rap artists Salt n Pepa and Nell Carter (a televised special from LA’s Dorothy Chandler Pavilion), Carol Channing, and Debbie Reynolds to name a few. He choreographed for the film Road to Perdition, directed by Sam Mendes, and Mark Medoff’s Children on Their Birthdays. He choreographed for and was a featured actor in the Indie film Vanilla City and he starred in the revival and re-imagining of the Ruth Page ballet Billy Sunday for both stage and the televised documentary of the same name, earning an Emmy nomination for his performance. He served as one of the directors of the John G. Shedd Aquarium’s multi- species show Fantasea and made his Chicago Lyric Opera debut as choreographer for their Macbeth. Harrison directed and choreographed the first fully licensed Broadway musical for a Cruise Line, which was featured on this year’s Tony Awards.

Lou Conte

Joshua Manculich

After a performing career including Broadway musicals, Conte established the Lou Conte Dance Studio in Chicago in 1974. In 1977, he founded what is now Hubbard Street Dance Chicago with four dancers performing at senior citizens homes in Chicago. Originally the company's sole choreographer, he developed relationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists. These relationships transformed HSDC into the internationally acclaimed repertoire company it is today. In the 1980s, Conte commissioned several works by Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow. He continued to build HSDC's repertoire by forging a key partnership with Twyla Tharp in the 1990s, acquiring seven of her works, including an original work for the company. Conte further expanded the company's repertoire to include European choreographers Jirí Kylián and Nacho Duato and Israeli choreographer Ohad Naharin. These long-term relationships along with Conte's participation in selecting Jim Vincent as the company's new Artistic Director have paved the way for HSDC's future. Throughout his 23 years as the company's Artistic Director, Conte received numerous awards, including the Chicago Dance Coalition's inaugural Ruth Page Artistic Achievement Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995 and the Chicagoan of the Year award from Chicago magazine in 1999. In 2002, he was one of six individuals named Laureates of The Lincoln Academy of Illinois, the highest honor the state bestows upon Illinois residents. He has been credited by many for helping raise Chicago's international cultural profile and for creating a climate for dance in the city, where the art form now thrives.

Bryn Cohn

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Described as a “dancemaker who does not shy away from much” (DIY Dancer), Bryn Cohn founded the New York-based contemporary dance company Bryn Cohn + Artists in 2011. Her work has been presented in premiere venues throughout the country including Danspace Project, Gibney Dance, 92nd Street Y, 14 th Street Y, Ailey Citigroup Theater, Kaatsbaan International Dance Center, Jazz at Lincoln Center, Symphony Space, Boston University Theater, Nazareth College, Dixon Place, The Martha Graham Theater, Judson Memorial Church, Abrons Arts Center, Baruch Performing Arts Center, Salvatore Capezio Theater, Manhattan Movement and Arts Center and Triskelion Arts among others. BC + A has received awards and funding including from The Alfred Z Solomon Charitable Trust, SILO Residency through DanceNOW, The Far Space Residency through The Field, and most recently was named Inception to Exhibition’s Fan Favorite and won a fully produced performance.

Cohn has been commissioned to create original works for Missouri Contemporary Ballet, Billy Bell’s Lunge Dance Collective, Grand Valley State University, California State University, Fullerton, The Pushing Progress Contemporary Training Program, the fashion designer Betsey Johnson on a site-specific installation and The Youth America Grand Prix. She received a full feature profile in Dance Teacher Magazine in July 2016. As a sought out educator and lecturer, Cohn has participated in education engagements at California Institute of the Arts, Gibney Dance, Loyola Marymount University, Velocity Dance Center, Peridance Capezio Center, Nazareth College, California State University, Los Angeles and Renaissance Arts Academy. She graduated with a Bachelor’s of Fine Arts from California Institute of the Arts in dance performance and composition.

Joshua Manculich

Joshua Manculich

Josh hails from Windber, PA, graduated valedictorian in 2005 and went on to pursue dance and psychology at Point Park University. Joshua's performance credits include The Pillow Project, Jaxon Movement Arts, Chicago Repertory Ballet, Pursuit Productions, as well as five seasons with Thodos Dance Chicago. Josh's Ride, The Rate In Which I Am and Monologue have been toured internationally with DanceWorks Chicago. In collaboration with Jacqueline Stewart, their duet A Forgotten Rhymehas been seen in NYC as a part of the Dance Gallery series. Other choreography endeavors include, Dancing in the Parks, Grand Valley State University, MetDance, Piel Morena Contemporary Dance, Thodos Dance Chicago, and Western Michigan University. Josh currently is pursuing his Masters of Fine Arts in Dance at the Ohio State as a recipient of the Susan Huntington Dean's Distinguished University Fellowship. 

Dustin Crumbaugh

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Dustin Crumbaugh (Houston, TX) began his formal dance training at Houston Metropolitan Dance Company's pre-professional second companny, Houston Met Too. Since graduating high school, he spent two years as a dance major at Point Park University where he performed works by renowned choreographers such as Margo Sappington, Robert Battle, and Harrison McEldowney. He completed his traineeship with Ballet Austin, where he performed works by Stephen Mills, Gina Patterson, Septime Weber, and Dwight Rhoden, and trained at LINES Ballet, where he studied under master teachers such as Alonzo King, Maurya Kerr, and Amy Raymond. Dustin joined Houston Metropolitan Dance Company as a professional company member in 2005, and in 2007 joined Luna Negra Dance Theater under the direction of Eduardo Vilaro, performing works by Edgar Zendejas, Alejandro Cervera, and Gustavo Ramirez Sansano. He then danced on scholarship at Hubbard Street Dance Chicago and participated in Springboard Danse Montreal, working with Jose Navas/Cie Flak and Julian Barnett. In 2009, he performed with Cerqua Rivera Dance Theater until joining The Big Muddy Dance Company in 2011, with whom he has performed works by Lauri Stallings, Lou Conte, Paula David, and Harrison McEldowney. As a member of The Big Muddy since 2011, Dustin co-directs the Convergence Trainee Program alongside Brian Enos.

A Fragile Heaviness


St. Louis native, Kameron N. Saunders delivers "A modern ballet that starts with an emotional and technically impressive pas de deux and later grows into a beautiful and mesmerizing group dance" (Mary Beard, ALIVE Magazine)

Fragile-Heaviness

A Media Luz


This piece is a series of vignettes set to Piazollo's tango music, with a sensual pas de deux at the heart of the work.

A Sorrow Divided


An exploration into the influence of external forces on people as they navigate their lives. Call it guardian angels, fate, or simply the universe. For better or worse, we're never fully in control of our paths as long as we're on the Earth. We can only hope for guidance and luck when we need it most.

A Sorrow Divided

And Etudes


Originally created for Grand Rapids Ballet by company dancer Thom Dancy. This unique and enthralling piece combines movement and live piano together on stage to create an all new kind of collaboration.

Bare Inside


Abdur-Rahim Jackson, a former dancer with Alvin Ailey American Dance Theater, originally created this work on his wife Olivia. He has reworked the piece into a multi-female dance in honor of the great women that have influenced his life.

Beatified Sedition


"Beatified Sedition" is premised on jazz and contemporary dance idioms being met with the chaotic abandonment of rock and roll music. Six dancers take on a daredevil's romp with precision and ferocity.

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Because Jazz


A full company work created in 2015. The piece is an exploration in jazz dance, and what makes a work deserving of the title “Jazz”.

Dance Sport


Originally created for Hubbard Street 2, McEldowney once again shows his comedic excellence in this work with his creative use of a commentator over the music, to explore what it would be like if dance performance were treated as a sporting event.

Dance Sport

Diphthong


Originally created for Hubbard Street Dance Chicago, this complexly layered and dynamic work plays with rhythmic syncopation, physical isolation, and a highly architectural structure to create an immersive world of sights and sounds.

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Moments


An entrancing women's quartet created for The Big Muddy Dance Company in 2013. The work approaches the question of life and beyond with a sense of curiosity and grace.

Moments

, No Subtitles


An homage to Spanish filmmaker Pedro Almodovar, his unique choices, and his dedication to the female protagonist.

, No Subtitles

Nothing Changes


Nothing Changes

Punctuations


The work seamlessly fuses comedy and dance as three dancers act out the characters of our three favorite sentence-enders.

Punctuations

Stolen Season


Created for the company in 2013, this emotional work brings the audience member in for a closer view of a heartbroken, but apathetic couple that must work towards a conclusion.

Stolen Season

That Perfect Fit


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The 40’s


Originally created for Hubbard Street Dance Chicago, this technical swing number has been brought back to life. It has energy, style, and a great, old broadway feel that brings the audience to its feet at every performance. Choreographed by Lou Conte, founder of Hubbard Street Dance Chicago.

The 40's

The Band


An original work for The Big Muddy Dance Company. In the unique style of Stallings, along with the movement, music, and installation of dancers throughout the entire performance space (including the audience and balcony), this work is what true contemporary dance is all about. Integrating dance beyond the proscenium stage, taking dance from the inside-out in the most intricate and interesting vocabulary.

The Band

The Beat


Created on The Big Muddy Dance Company in 2013 by Douthit and Boyd, both dancers with Alvin Ailey American Dance Theater. The work shows the pure technique and athleticism of the dancers. The first and third sections are set to tribal drumming, and the middle section is a solo to a piece of music that is "soft, like a light rain". Pure dance at it's best.

The Beat

The Big Tent


"The Big Tent" is a series of smaller stories combined to create a full-length ballet set in the early 20th century. Choreographed by Marc Wayne, artistic director of MAXXAS Dance theater. The charisma, soul, and spice of each song, and movement, reminds us of the "good ole' days". This will be an original piece for The Big Muddy Dance Company, and is still in progress.

The Watson


Originally created for Visceral Dance Chicago, and named after Karl Watson, on whom the solo was created, this piece is a romp through insanity. Williams cleverly plays with exaggerations and characterizations of various social dance crazes over the decades.

Umbra


Umbra draws upon the illumination of the feminine; its energy, power and allure. Made for six women, this piece highlights the Big Muddy Dance Company’s female ensemble of highly technical and multi-stylistic performers.

Umbra

Las Manzanitas


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Whirlpool


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wAsh


DiCriscio, an exciting emerging voice in dance, created "wAsh" for The Big Muddy Dance Company in 2011. This piece takes the audience on a 24 minute journey through an intense combination of theatrics, lighting, and dance. The challenge for the audience to interpret the piece is tempered with the impressive athleticism and the unexpected.

wAsh

Whip


Originally created in 2001 for Hubbard Street 2, and then revised and expanded in 2013 for Point Park University. This work opens with an introspective meditation before launching the dancers into a fast paced, explosive dance, showing the speed, agility, and technical precision of The Big Muddy dancers.

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