Photo Credits from left to right: 1- Bill Hebert 2- Jack Vartoogian 3- Sharen Bradford 4- Angelo Redaelli 5- David Bazemore 6- Sergey Petrov

DAVID PARSONS (Artistic Director/Co-Founder) has enjoyed a remarkable career as a performer, choreographer, teacher, director, and producer of dance. Mr. Parsons was born in Chicago and raised in Kansas City. He was a leading dancer with The Paul Taylor Dance Company, where
Mr. Taylor created many roles for him in works such as Arden Court, Last Look and Roses. He is a recipient of the 2000 Dance Magazine Award, as well as the 2001 American
Choreography Award, for his work as a co-producer of AEROS, a production featuring the Romanian Gymnastic Federation that was featured on Bravo. Mr. Parsons has created more than
80 works for Parsons Dance. He has received commissions over the years from The American Ballet Theatre, New York
City Ballet, Alvin Ailey American Dance Theater, the American
Dance Festival, Jacob’s Pillow, the Spoleto Festival, and Het
Muziektheater in Amsterdam, to name a few. His work has been performed by Paris Opera Ballet, Joffrey Ballet, Nederlands
Danse Theatre, National Ballet of Canada, Hubbard Street
Dance, and BatSheva Dance Company of Israel, among many others. In June 2007, Mr. Parsons was honored to be the very first contemporary choreographer ever to stage work at the centuries-old Arena di Verona, in Verona Italy, where he choreographed Verdi’s Aida. The Arena is one of Italy’s most respected operatic venues. In September 2007, he directed and choreographed Gotham Chamber Opera’s production of Maria
de Buenos Aires, which made its world premiere at a sold-out engagement in New York, at NYU’s Skirball Center for the Arts.
In the July 27, 2007 edition of The New York Times, Jennifer
Dunning called David Parsons “one of the great movers of modern dance.”
ELIZABETH KOEPPEN (Associate Artistic Director) was born and raised in Virginia Beach, Virginia, where she began her training with Judith Hatcher and Darlene Kelly. She continued her education at SUNY Purchase where she received her
B.F.A. under the instruction of Gayle Young,
Larry Clarke, Kevin Wynn, Rosanna Seravalli, and Betti-Jane
Sills. Teaching credits for The Parsons Dance Company include
SUNY Purchase, The Juilliard School, NYU’s Tisch School of the Arts, The 92nd Street Y, the New Arts Festival, Baltimore
School of the Arts, Peridance, and Dancespace. Ms. Koeppen has staged works by Mr. Parsons on numerous companies, including the Milwaukee Ballet, Dallas Black Dance Theater,
Repertory Dance Theater, New York City Ballet, Pennsylvania
Ballet, Les Ballet Jazz de Montreal, Louisville Ballet, and Roland
Petit’s Ballet National de Marseille. She would like to thank her family and friends for their love and support. Ms. Koeppen joined
Parsons Dance in 1989.
ERIC BOURNE (Dancer) grew up in Midland, MI.
He began his training at 16, under the direction of Sandra Black. His formal training started while attending Ryerson University, studying under Nadia Potts, Karen Duplisea, and Vicki
St. Denys. He spent his summers in Colorado studying with Linda Kent, Stephen Pier, Nicolas
Villeneuve, and Kristopher Storey at Perry – Mansfield. Moving to New York City in January 2007, he danced the role of James in the North American Tour of Twyla Tharp’s Movin’ Out. Eric joined Parsons Dance in August 2008.
SARAH BRAVERMAN (Dancer) is Chicago born and California raised. She trained extensively in the Royal Academy of Dance, under the direction of JoAnna Jarvis and Bernadette Hill, completing all examinations up to advanced II with distinction.
In 2006, she became a founding member of NYC based modern company, AM Dance Project.
Sarah graduated cum laude from Marymount Manhattan College in 2008 under the direction of Katie Langan and had the honor of performing works by David Marquez, Robert Battle, David
Parsons, Graham Lustig, Stephen Petronio, and Joao Carvallo.
Sarah joined Parsons Dance in 2008.
MELISSA ULLOM (Dancer) is from Santa Barbara,
CA where she trained under Michele Anderson and Denise Rinaldi. Upon graduation from high school, Melissa trained full-time with the Houston
Ballet Academy and later the Lou Conte Dance
Center/Hubbard Street Dance Chicago. She has worked professionally with Houston Ballet, Smuin
Ballet, Company C Contemporary Ballet, State St. Ballet, and Santa
Barbara Dance Theatre. Melissa graduated with High Honors from the University of California, Santa Barbara with a B.A. in Art History, and a minor in Exercise and Health Science. Melissa holds her comprehensive Pilates Certification from Body Arts and Science
International. Melissa joined Parsons Dance in 2009.
(over)

STEVEN VAUGHN (Dancer) was born in Iowa
City, IA and grew up dancing all over the Midwest.
Steve graduated in May 2009 from the University of the Arts with a B.F.A. in Modern Dance. While attending the University of the Arts in Philadelphia he was given the opportunity to perform works by
Silvanna Cardell, Martha Graham, and Twyla Tharp, among others while allowing him to present his own choreography.
His college career also afforded him the privilege of working professionally with Diane Sharp-Nachsin’s SHARP Dance Company,
Scott Jovovich in Brandywine Ballet Theater, Zane Booker and his
Smoke, Lillies, Jade Arts Initiative, and Brian Sanders’ JUNK. Steven joined Parsons Dance in June 2008 as an apprentice and become an official company member in August 2009.
CHRISTINA ILISIJE (Dancer) graduated summa cum laude from Marymount Manhattan College in
2007 with a B.F.A. in Dance. Her choreographic work, Naked Branches, was bestowed the Alpha Chi award. Upon graduation she became a company member with Buglisi Dance Theatre where she performed and instructed company outreach.
Christina also danced with Maxine Steinman & Dancers and as a guest artist with Take Dance and Shen Wei Dance Arts. Her choreographic work has been presented at St. Mark’s Church and
The Hatch. She writes about her passions on her blog Living Dance
(www.living-dance.com.) Christina joined Parsons Dance in 2010.
JASON MACDONALD (Dancer), an Orlando native, began his dance training with Melissa Stokes and later with Alberto Alonso and Sonia Calero at
Santa Fe College. He has performed with the New
York City Opera and Alabama Ballet Company under Artistic Director, Wes Chapman. His repertoire includes Cinderella, Don Quixote, Firebird, and
George Balanchine’s The Nutcracker and Serenade. He recently graduated with a B.F.A. in Dance and a B.S. in Finance from The
Florida State University. Jason joined Parsons Dance in August 2010.
IAN SPRING (Dancer) is originally from
Middletown, OH where he began his training under the direction of Phyllis DeWeese-Morgan.
After graduating from high school, Ian attended
Point Park University in Pittsburgh, PA. While at
Point Park, he had the honor of performing pieces by Robert Battle, Martha Graham, and Kate
Skarpetowska among others. Ian graduated with summa cum laude with his B.A. in Dance. Ian spent last year working with Dayton
Contemporary Dance Company 2. Ian joined Parsons Dance in
August 2010.
MARIA ELENA D’AMARIO (Apprentice Dancer) was born in Pescara, Italy. She studied modern, ballet, contemporary, and tap at various schools throughout Italy. Over the years, she has won multiple festivals and competitions including the Pescara Dance Festival, the International
Expression Dance Competition in 2008, and the
TipTap show in 2007 and 2009. Additionally, Elena has appeared on multiple TV shows including Camera Smile, Il ballo delle debuttanti, and Tutti x uno. She eventually auditioned for the popular Amici 9 series, which led her to winning the opportunity to apprentice with
Parsons Dance for the 2010-2011 season. Elena became an official company member in August 2011.
CHRISTOPHER BLOOM (Apprentice Performer) s from Middletown, VA where he started training at the Vostrikov’s Academy of Ballet at the age of 15.
Christopher trained as a scholarship student at the
Ballet and Contemporary Dance Programs in the
School at Jacob’s Pillow under Anna-Marie Holmes and Milton Myers. He will soon graduate from the
Ailey/Fordham BFA Dance Program where he had the opportunity to perform works by Sidra Bell, Francesca Harper, Camille A. Brown,
Jennifer Muller, Paul Taylor and Alvin Ailey. He has performed professionally with 360⁰ Dance Company and with Alvin Ailey
American Dance Theater. Christopher joined Parsons Dance in 2011.
DAVID HARRISON (Executive Director) has more than twenty-five years of successful administrative experience in the literary, visual and performing arts.
Formerly a senior director at ASU Gammage, the arts presenting program at Arizona State University,
Harrison has worked successfully with a diverse range of the world’s most important performing artists. In 1994, Harrison (along with Parsons Dance International
Council member Dr. Michael Blachly) was part of a four-university team that co-commissioned and presented the first-ever U.S. national tour of the internationally renowned Tanztheater Wuppertal—Pina
Bausch. Recently, Harrison served as executive producer of both the stage and PBS television productions of Remember Me, a collaboration with the rock-opera band, East Village Opera
Company and David Parson’s very first full-length dance. Harrison is active throughout the performing arts industry, as a Board member, consultant, collaborator and speaker. Mr. Harrison joined Parsons
Dance in October 2006.

229 West 42nd Street
8th Floor
New York, NY 10036
P 212-869-9275
F 212-944-7417 info@parsonsdance.org
parsonsdance.org
ARTISTIC DIRECTOR
David Parsons
EXECUTIVE DIRECTOR
David Harrison
BOARD OF DIRECTORS
Stephen B. Morris
President
Barbara Rohdie
Vice President, Board Development
Linda Stocknoff
Vice President, Special Events
Chris Yegen
Vice President, Finance & Development; & Treasurer
Stephanie French
Secretary
Froma Benerofe
Howell Binkley
Ina Sorens Clark
Fiorenza Scholey Cohen
Darren DeVerna
Jason Fletcher
Kelly Ginsburg
David Harrison
Katie Langan
Luca Missoni
David Parsons
INTERNATIONAL COUNCIL
Vickie Morris
Chair
Dr. Michael Blachly
Lois Greenfield
William Ivey Long
Martin Richards
Suellen Richmond
Austin Scarlett
Roslyne Paige Stern
Robert D. Stern
ORTHOPÆDIC CONSULTANT
Dr. David Weiss
PUBLICIST
Michelle Tabnick
CERTIFIED PUBLIC ACCOUNTANT
Dan Dougherty
TEAM
ARTISTS
Elizabeth Koeppen
Associate Artistic Director
Howell Binkley
Resident Lighting Designer
DANCERS
Abby Silva
Miguel Quinones
Eric Bourne
Sarah Braverman
Melissa Ullom
Steven Vaughn
Christina Ilisije
Jason MacDonald
Ian Spring
Elena D’Amario
Emily Daly,
Apprentice
Christopher Bloom
, Apprentice Performer
STAFF
Sandy Busken
Program, Development & Marketing Associate
Rebecca Josue
Company & Stage Manager
Christopher Chambers
Lighting Supervisor & Technical Director
Allison Brzezinski
Office Manager
Marco Gavezzoli
Assistant Technical Director for Remember Me
ARTISTS’ REPRESENTATIVE
Margaret Selby
President
CAMI Spectrum
1790 Broadway
16th Floor
New York, NY 10019
P 212-841-9554
F 212-841-9770 mselby@cami.com

PRODUCERS / DIRECTORS
Joe Locarro . . . . . . . . . . . . . . . . . . . . . . .
Remember Me for PBS TV
Bruce Marcus . . . . . . . . . . . . . . . . . . . . . .
Remember Me for PBS TV
PRODUCTION DESIGNERS
Michael Curry . . . . . . . . . . . . . . . . . . . . . New York City’s Times Square
2000 Millennium event
Jason Thompson . . . . . . . . . . . . . . . . . . .
Remember Me
LIGHTING DESIGNERS
Howell Binkley . . . . . . . . . . . . . . . . . . . . Parsons Dance Co-Founder &
Resident Lighting Designer
Burke J . Wilmore . . . . . . . . . . . . . . . . . . .
Annuals, Kind of Blue
SET DESIGNERS
Alex Katz . . . . . . . . . . . . . . . . . . . . . . . . .
Mood Swing
VISUAL ARTISTS
Rita Blitt . . . . . . . . . . . . . . . . . . . . . . . . . .
Caught in Paint
Lois Greenfield . . . . . . . . . . . . . . . . . . . . .
Breaking Bounds
Howard Schatz . . . . . . . . . . . . . . . . . . . . .
The Virtuoso, Dance Magazine
MUSICIANS / COMPOSERS
The Ahn Trio . . . . . . . . . . . . . . . . . . . . . . .
Caught, Rise and Fall,
Slow Dance, Swing Shift
Kenji Bunch . . . . . . . . . . . . . . . . . . . . . . .
Slow Dance, Swing Shift
John Corigliano . . . . . . . . . . . . . . . . . . . .
Touched by Time, Union
Morton Gould . . . . . . . . . . . . . . . . . . . . . .
Mood Swing
Peter Kiesewalter . . . . . . . . . . . . . . . . . . .
Remember Me
David Linton . . . . . . . . . . . . . . . . . . . . . . .
The Rush
Brian Lynch . . . . . . . . . . . . . . . . . . . . . . . .
Scrutiny
John Mackey . . . . . . . . . . . . . . . . . . . . . .
Annuals
AnnMarie Milazzo . . . . . . . . . . . . . . . . . . .
Remember Me
Milton Nascimento . . . . . . . . . . . . . . . . . .
Nascimento, Nascimento Novo
Shelly Palmer . . . . . . . . . . . . . . . . . . . . . .
Anthem
Richard Peaslee . . . . . . . . . . . . . . . . . . . .
Ring Around the Rosie
Tony Powell . . . . . . . . . . . . . . . . . . . . . . .
Closure, The Almighty
Michael Raye . . . . . . . . . . . . . . . . . . . . . .
Scrutiny
Tyley Ross . . . . . . . . . . . . . . . . . . . . . . . .
Remember Me
Wayne Shorter . . . . . . . . . . . . . . . . . . . . .
Union
Leslie Stuck . . . . . . . . . . . . . . . . . . . . . . .
Destined
T .T .G . Music Lab
(Geoff Bennett and
Longo Hai, Composers) . . . . . . . . . . . . . .
Instinct
Turtle Island String Quartet . . . . . . . . . . .
Rise and Fall
Dr . Billy Taylor . . . . . . . . . . . . . . . . . . . . . .
Step Into My Dream
Phil Woods . . . . . . . . . . . . . . . . . . . . . . . .
Fill The Woods With Light
COSTUME DESIGNERS
Steven Cuba . . . . . . . . . . . . . . . . . . . . . .
Rise and Fall
A . Christina Giannini . . . . . . . . . . . . . . . .
Swing Shift
Christine Joly . . . . . . . . . . . . . . . . . . . . .
Fine Dining
Donna Karan . . . . . . . . . . . . . . . . . . . . .
Union
William Ivey Long . . . . . . . . . . . . . . . . .
Anthem, Ring Around the
Rosie, Three Courtesies
Santo Loquasto . . . . . . . . . . . . . . . . . . .
Nascimento
Judanna Lynn . . . . . . . . . . . . . . . . . . . . .
Annuals
Missoni . . . . . . . . . . . . . . . . . . . . . . . . .
Step Into My Dream
Katrin Naumann-Hutchinson . . . . . . . . .
Fill the Woods With Light
Austin Scarlett . . . . . . . . . . . . . . . . . . . .
Remember Me
Judy Wirkula . . . . . . . . . . . . . . . . . . . . . .
The Envelope
David Woolard . . . . . . . . . . . . . . . . . . . .
Bachiana, Images
Anita Yavich . . . . . . . . . . . . . . . . . . . . . .
Peel

“ Remember Me played to a sold-out house, thunderous applause and a standing ovation. David Parsons created a fresh approach to a tale of love and tragedy, integrating choreography and lighting design to create a landscape of colors, visual illusions and sensual movement. The storyline is engaging enough to carry the audience through the complex choreography, making the performance compelling even for general audiences. Dance aficionados will be looking for this performance with enthusiasm.” — Nicole English, Kansas City Star , November 17, 2009
“ Remember Me melds movement, music and narrative into an emotionally powerful whole. Parsons’ choreography—fast and muscular, rigorous in its physicality yet giving the impression of spontaneity—is marvelous to watch … playful, erotic, frightening and poignant.” — James D. Watts, Jr., Tulsa World , November 17, 2009
“ Remember Me is dazzling stuff! Parsons Dance and the East Village Opera Company have crafted an exhilarating combination of music and modern dance that manages to transcend both mediums, transforming a simple story into something wholly new and visually arresting … an absolutely stunning production … brilliantly clever arrangements of familiar operatic classics … wonderful melodies, deftly performed with considerable emotion and style … splendid direction and choreography.” —Chris Gibson, StLouis.Broadwayworld.com, November 15, 2009
“ Remember Me is an uber-sexy, easy-to-follow narrative as entertaining as any opera from a century ago — a gorgeously performed work for our time.” — Merilyn Jackson, Philadelphia Inquirer , December 4, 2010
“ Remember Me is absolutely stunning … modern and edgy movement and sound … brilliant … thoroughly ingenious … every dancer on the stage was a vibrant and magnetic artist … I have never been so captivated.”
— Charles Stanton, Houston Fine Arts Examiner , October 30, 2009
“Sleek, inventive choreography … brilliant dancing … Parsons shows off his dancers’ athleticism … he engages the eye with the smooth physicality of his vocabulary. The singers evoke and amplify the storytelling.”
— Manuel Mendoza, The Dallas Morning News , October 11, 2009
“Some of the best dancers in the world! Innovative choreography. Parsons Dance keeps contemporary dance exciting and beautiful. East Village Opera Company has the potential to turn everyone into opera lovers.”
— Marilee Vergati, Dallas Events Examiner , October 11, 2009
“The two vocalists are amazingly talented, the dancers are gorgeous, Parson’s choreography is lovely, the lighting (by Howell Binkley) is elegant and the costumes
(by “Project Runway” finalist Austin Scarlett) are sexy and stylish. The crowd, of all ages, was on their feet at the end of the show.”
— Tresca Weinstein, Albany Times Union , September 26, 2009
“The dancers execute their steps with fierce commitment … you can’t help but be moved …” — Thea Singer, Boston Globe , September 26, 2009
“David Parsons has embued this timeless tale with originality and flair … complex, interesting dance patterns and glorious singing from the heart and gut.”
— Kay Bourne, EDGE Boston , September 26, 2009

“Parsons Dance pushes boundaries, invites audiences along for the ride.”
— Rebecca J. Ritzel, Charlotte Observer , March 23, 2010
“Parsons Dance lovers will never be disappointed when they see his works since
the company always delivers with consistency energetic, inspired performances. “
— Jessica Shahinian, iDANZ critics corner, February 18, 2010
“the Parsons choreography was most impressive in its muscularity—several of the lifts
involved complicated grabs at the waist.”
— Jennifer Melick, SundayArts Blo g, February 9, 2010
“Like Parsons’ other work, Remember Me blends convention and innovation, marrying
the oldest art of dance to the newest special effects. “
— Josh Cabrido, Washington Square News , February 8, 2010
“David Parsons’ Remember Me choreography is unbelievably interesting. Filled with
lust and passion, movements alternate between jerky street dance styles, acrobatic
contortions, and graceful soft ballet”
— Gabrielle Sierra, Broadwayworld.com
, February 5, 2010
“Joyous, full of exuberance … lovely adagios, terrific group synchros … a great
company of superb dancers, perfectly lighted by Howell Binkley.”
— Richmond Shepard, Performing Arts Insider and Lively-Arts.com, January 8, 2009
“Parsons choreography — fast and muscular, rigorous in its physicality yet giving the
impression of spontaneity — is marvelous to watch, capable of creating moods at
once playful, erotic, frightening and poignant. “
— James D. Watts Jr., Tulsa World , November 12, 2009
“David Parsons returned to the Joyce Theater with a clear intention: to give the
audience a boost. Mr. Parsons likes to please.”
— Gia Kourlas, T he New York Times , January 7, 2009
“David Parsons’ concert shows that he has plenty more to say!”
— Merilyn Jackson, The Philadelphia Inquirer , October 18, 2008
“David Parsons’ creativity overflows. His dancers, as always, are powerhouses
who leap and glide their way through an evening packed with athletic challenges.
Audiences marvel at the rich physicality of the dancers.”
— Robert Johnson, The Star-Ledger , January 9, 2008
“David Parsons is one of the great movers of modern dance.”
— Jennifer Dunning, The New York Times , July 27, 2007
“David Parsons is one of modern dance’s great living dance-makers.”
— New York Magazine , September 3, 2007

Sat, Dec. 4, 2010
By Merilyn Jackson
For The Inquirer
‘REMEMBER ME’ AND YOU WILL, AT ANNENBERG
After two years of touring, choreographer David
Parsons’ Remember Me finally landed in Philadelphia
Thursday night at Annenberg Center. A brilliant hit, it slams at the highbrow expectations of New York critics who’ve labeled it superficial and more soap than rock opera. Some say it’s a pop-opera; the Village Voice ’s
Deborah Jowitt called it a dansical.
None of this matters to audiences, which erupt in applause at the end of each act and bolt from their seats to cheer before the finale’s last notes fade. This is the kind of show that would have elicited flowers flung on the stage in another era.
What puzzles me is that Twyla Tharp gets nary a raised eyebrow for her Broadway excursions with Billy Joel and Sinatra, while Parsons has his feet held to the fire for collaborating with the East Village Opera Company
(EVOC) to create an uber-sexy, easy-to-follow narrative as entertaining as any opera from a century ago — a gorgeously performed work for our time.
This is a more streamlined version of the piece premiered in New York and seen on PBS last year, the DVD of which was flying off the sales table in the lobby. There are more thrilling surprises in Parsons’ choreography, and the roles of Tyley Ross, lead male vocalist and cofounder of EVOC, and lead female vocalist AnnMarie Milazzo are a bit scaled back but still sung powerfully.
Some critics even puzzle over why Schubert’s “Ave
Maria” and a well-known folk tune are included with the
11 operatic arias that drive the work. With a camped-up love triangle involving two brothers — Marcus (Miguel
Quinones) and Luca (Eric Bourne) — and Marie (Abby
Silva Gavezzoli), plus opera’s twanged-out greatest hits and the above-mentioned tune, “Maria, Mari” and “Ave
Maria” (get it now?), and choreography that careers between ballet, hip-hop, modern, folk, and club, this thing has legs!
(Photo/EDUARDO PATINO)
Parsons Dance Company dances the rock opera/ballet
“Remember Me,” lambasted by critics, loved by audiences.
So does Silva Gavezzoli. When have there ever been such expressive, sensual, whip-snap legs lashing the air on any stage before? She maintains her reckless pace with abandon, breathtakingly vaulting into the arms of the brothers or whichever of the other men in the ninemember company can catch her. Like Shakespeare’s
Juliet, she seems as much in love with her own beauteous youth and the admiration it draws as she is with Luca, whose sinuous dancing would make any girl fall for him.
There is not enough ink for me to say and describe all I want to, but two of my favorite scenes are when Marcus carries Maria off in a rape scene danced sorrowfully to “Ave Maria.” After, Maria dances imploringly to a dejected Luca while behind her the cast lines up, arms enchained. As Ross sings “Nessun dorma,” they soulfully lace arms in intricate waves that were previously videotaped and projected in black and white behind, above and in sync with the live performance.
Needless to say, Remember Me ends as tragically as any opera. Or does it?

BY STEVE SUCATO, News Contributing Reviewer
October 17, 2010, 1:06 PM
DANCE PROGRAM PARADES
BEST OF PARSONS
Call it David Parsons’ greatest hits. The program his New
York-based Parsons Dance rolled out Friday night in the
University at Buffalo’s Center for the Arts featured six audience favorites spanning three decades, including the company’s signature work Caught .
All were danced brilliantly by his energetic troupe.
The program of highly inventive works began with Parsons’
“Bachiana” (1993), set to Johann Sebastian Bach’s
“Orchestral Suite No. 1” and “Air on the G String.” Eight dancers in red and black costumes darted about the stage in springy and free-flowing modern dance movement.
Ripe with whimsy, the work poked fun at ballet movement.
The dancers emulated arm movements of ballet dancers, only with exaggerated, bent wrists, and they playfully mocked the four little swans dance from the ballet
Lake .
The program’s first half concluded with 1984’s
Envelope
Swan
The
, set to Gioacchino Rossini’s “Arrangement of
Overtures,” a quirky piece about a group of odd, hooded and sunglass wearing characters who, no matter how hard they try, cannot rid themselves of a mysterious envelope.
The program’s second half began with a finger-snapping jazz work: Kind of Blue , with music by Miles Davis, looked as much fun for the dancers as it was to watch. The sounds of a snare drum and a wailing saxophone conjured the feeling of a 1960s jazz club.
The work’s middle sections consisted of a series of lighthearted duets, including a slower one in which a female dancer sat perched between her male partner’s shoulder blades, riding backwards onto the stage.
Next, the company performed the first of two works that used optical illusion to captivate the audience.
Next came one of dance’s greatest works, Parsons’ signature work of illusionary genius — 1982’s Caught .
A showstopper, the piece held the audience breathless as dancer Miguel Quinones, backed by strobe light, rifled through more than 100 seemingly effortless jumps, looking for the most part like he was floating in air. The aweinspiring work garnered Quinones a standing ovation.
In 2003’s “ Hand Dance ,” set to the music of Kenji Bunch, a thin strip of light on a darkened stage illuminated five pairs of hands looking disembodied as they wriggled, bounced, clapped and swam like a school of fish, to the audience’s utter delight.
Capping off a thoroughly entertaining program of dance was 1990’s Nascimento , titled after Milton Nascimento, who created the Brazilian-flavored music that the work was set to. Like the program’s opening work, Nascimento was a buoyant, carefree group work, only with a delicate middle section giving off a group hug vibe and showing a rare sensitive side to Parsons’ predominantly upbeat and whimsical choreography.
An absolute lark, The Envelope exemplified Parsons’ mastery of creating highly accessible dance works.
REVIEW: Parsons Dance
Friday evening in the University at
Buffalo’s Center for the Arts Mainstage,
North Campus, Amherst.

November 11, 2009, 4:29 PM • Dallas Events Examiner
— Marilee Vergati
‘REMEMBER ME’ IS UNFORGETTABLE
East Village Opera Company has the potential to turn everyone into opera lovers. Their rock music and new arrangements of familiar arias is pulsating and sensual.
Parsons Dance keeps contemporary dance exciting and beautiful with its innovative choreography. The combination of East Village Opera Company and the beauty of Parsons Dance is an irresistible pairing for
‘Remember Me’.
TITAS continues its tradition of bringing top music and dance talent to the DFW Metroplex. ‘Remember Me’ was the last TITAS performance at McFarlin Auditorium before moving to the new Winspear Opera House at the
AT&T Performing Arts Center.
The opening number ‘Caught’ utilized the new age style music ‘Let the Power Fall’ by Robert Fripp. Performer
Miguel Quinones held the audience spellbound. Parsons created his stroboscopic piece in 1982 and it became an instant classic. Strobe lights appeared to suspend
Quinones during mid leaps. Each time the light blinked he was in a different spot on the stage. When he landed his chest and stomach muscles moved, his breathing was controlled from his demanding physical assertions and his demeanor suggested his feats were effortless.
The end result was pure magic.
‘Caught’ set the mood for the featured show ‘Remember
Me’. This is an updated Cain and Abel story about two brothers in love with the same woman. In the beginning the characters are excited and exude youthful playfulness. A rock style ‘Habanera’ from Georges
Bizet’s Carmen sets the stage on fire belted out by the powerful lead female vocalist AnnMarie Milazzo.
When dancer Julie Blume selects her lover, the spurned brother becomes bitter and vengeful. Tyley Ross the lead vocalist from EVOC and AnnMarie Milazzo accompany the dancers on stage singing powerful and
Parsons Dance and East Village Opera Company in
‘Remember Me’ (Photo/TITAS) famous arias in rock style as the tragic story unfolds. Act
2 features ‘Nessun Dorma’ from Puccini’s Turandot with expressive choreography enhanced by large screen projected images of the dancers. The play ends with the famous ‘Butterfly Duet’ from Puccini’s Madame Butterfly .
This production was beautifully danced by some of the best dancers in the world. The strong vocal talents of
Tyley Ross and AnnMarie Milazzo further enhanced the high-energy collaboration. ‘Remember Me’ will be featured on PBS this fall and is currently on tour. It is one of those special not to be missed performances.

Thursday, March 26 12:23 AM
MITCH METZ.
CLT BLOG
”He flew… he flew… the dude freakin’ flew!” Those were the words I used, as I tried to explain to a friend exactly what I had seen this spectacular Thursday night at the
Knight Theater in Charlotte, North Carolina.
Parsons Dance rolled into town, and Charlotte, you missed it Thursday! You missed the greatest choreography this reviewer has ever seen in his 49 years of existance. Look, I know the rule is ”it’s not about you, it’s about the show”, but ladies and gentlemen, let me tell you something, I grew up picking cabbage in southern Wisconsin. I like my beer, drink my whiskey straight up, watch nascar, and have been a blue collar worker for 31 years. I am NOT some sissy dude, telling you how the arts are wonderful, and you should experience it all. I AM someone who can honestly say, I LOVE people who are the absolute best at what they do. David Parsons, in my opinion, is the greatest choreographer this world has ever seen.
The Parsons Dance Company has entertained audiences all over the world. They have more than 70 works under their belt, and are gracing the good people of Charlotte with an hour and a half of unbelievable entertainment.
The show opened with ”Wolfgang”, a series of three dances performed to the music of Mozart. The movement and fluidity of this number is to dance what
Mozart himself was to music. The tune is familiar, but the vision takes your mind to a place you never knew existed. I found myself smiling, just sitting there with a big ol’ stupid grin on my face, because the sight of these
3 couples took me to an entirely new dimension in my cranium. The balance, the grace, the beauty touched me while the music set the stage for Mr. Parsons’ interpretation.
Next came the whimsical ”Hand Dance”. As advertised, it’s simply 10 hands flowing through space. So very simple, yet so very entertaining. Throw in a little mime, some silliness, and a very talented troupe, and you have an audience laughing, applauding, begging for more.
What an amazing display of the genius of movement!
The first act ended with ”Swing Shift”, a journey through life. This number, more than the others, lends itself to different interpretations. While the program states it’s about a ”journey… exploratory sentiment”,
I found it fascinating as a tale of society and individuality.
Couples break away from the masses, and express themselves beautifully, each of them saying ”when we’re alone, just the two of us, life is so very, very good”.
I especially enjoyed when a single female dancer stood in the spotlight, and visually told us she too is happy with life… that she too, although alone, is enjoying ”the good, the bad, the happy, the sad” that life gives her. With staccato movement, she says ”look, I’m a strong woman,
I’m on my own, but I’m happy with my choices.” The entire ensemble nailed this number, and sent us off to intermission simply giddy about what would come next.
The second act was dominated by David Parsons’ signature number ”Caught”. Although choreographed in
1982, it’s easy to understand how this one dance has seen the stage for 28 years now. One dancer, one brief moment in our lives, and we are forever changed. This is not simply a dance number. The audience members are treated to a vision that all other sights will be compared to, for the rest of our lives. The artistry of movement, coupled with lighting and music, brought a Thursday night audience to their feet, offering up thunderous applause for this surreal experience. Yeah, ”he flew, he flew, the dude freakin’ flew…” rolled off the lips, but looking back, it was as if the poetry of movement was suspended in mid air, for all to absorb and consume.
These green eyes have never seen such a spectacle, and I can not wait for Saturday evening to get here, so I can see it again. Sometimes, even a reviewer needs to say ”go see it for yourself… this can not be described”.
Thursday night’s show ended with some funk, as the troupe came out and danced flawlessly to ”Shining Star” and a few other well known hits. Again, the movement was so very fluid and lyrical, Mr. Parsons extremely talented dancers brought that ”smilex” smile back to my normally reserved countenance. You’ll tap your foot, you’ll groove in your seat, you’ll stand and clap and say
”he flew, he flew, the dude freakin’ flew…”!
This is choreography that can not be missed. Maybe you’re a life long dance student, maybe you’re like me, and would rather put on a Dale Jr. hat and empty a few brown bottles… I will tell you one thing though, the
David Parsons Dance Company will fill your senses with wonderment and awe. Please Charlotte, do not miss out on this entertainment. I personally guarantee you, you will thank me for the heads up!

“I loved that!” says one spectator to his date as they exit the Joyce.
The lobby buzzes with happy little exclamations: “Wasn’t it wonderful?!” and “They are so fantastic!” David Parsons’s choreography and dancers make people feel good; no wonder the company averages
32 weeks a year on the domestic and international touring circuit.
What makes a group popular and successful? A two-week spread of
11 works that Parsons has choreographed over the last 20-plus years offers some clues. His dances are entertaining, good-humored, handsome. He uses music effectively and hires first-rate costume designers like Santo Loquasto and William Ivey Long. Although he rarely incorporates décor, his resident lighting designer, Howell
Binkley, creates stunning transformations of the cyclorama and stage with an array of saturated colors. The odd quirks, enigmas, and dark thoughts that mark the choreography of Paul Taylor (with whose company Parsons danced for a number of years) rarely sneak in.
Parsons, unlike the greatest choreographers, doesn’t shake us up or invade our souls or make us ask questions of ourselves; his mission, as articulated in print, is “to deliver positive, affirming, and life-enriching experiences…”
One way he accomplishes this is to make the unifying design of each piece very clear to both the eyes and mind. Watching Program A, you might briefly ponder the ambiguous title of his 1997 Closure , but what you get is a skillfully managed array of vigorous drills arranged in a variety of spatial patterns—chains, circles, horizontal lines, diagonals
—with Tony Powell’s strong, propulsive score and Binkley’s fiery lighting spurring on the eight black-clad dancers (costumes by Ivey
Long). The piece was choreographed for Utah’s Repertory Dance
Theater in honor of the state’s centennial, and its simple, optimistic drive fits the occasion. Repetition burns the movements into our memories—the swing of clasped hands and crooked elbows, say, or the turns with one arm high and the other behind the dancer’s back.
Sleep Study (1987) features ultra-drowsy folks in pajamas stumbling on and collapsing in various ways—comical in their unison thrashing, as if they were one sleeper multiplied through a series of mirrors.
The 1982 Caught , Parsons’s signature solo (now performed by various company members), derives its crowd-pleasing power by the simple device of a strobe light, timed always to catch the performer aloft
(I saw the excellent Miguel Quinones), his landings between leaps swallowed by blackness. When he jumps repeatedly straight up with flexed feet, he seems to be standing on air and floating toward us.
Many of the steps in Closure, Nascimento (2004), and In the End
(2007) are bouncy, and I wonder if that aspect of Parsons’s style could be reinforcing the impression of positive energy. I’m not only speaking of big leaps: The performers do a lot of low skipping and springing from one foot to two or two to one. When they spiral and slam down to the floor in a Tayloresque manner, it’s only to rebound. Moments like one in Nascimento when they form a quiet, almost devotional cluster (think of the opening of Alvin Ailey’s Revelations ) are rare.
I found myself most drawn to Kind of Blue (2001)—not just for the great Miles Davis music and the smoky atmosphere, but because the choreography for this coolly flirtatious quartet is a little less tightly composed. Abby Silva, Malvina Sardou, Tommy Scrivens, and
Quinones do a lot of strolling and sauntering, and the dancing sits more loosely on their bodies. Silva and Scrivens have a brief, engaging movement dialogue (Scrivens is especially fluent in this, as in everything).
Parsons’s 10 dancers are all wonderful: They cloak their super-fine techniques in a kind of charming ease, their athleticism in an offhand sensuality. They look—and this is key to their success—as if they’re having a fine time together doing these steps in this place right now, and for us.