Category Archives: Movement

Kito Flex Dopeness: #WalkThisWay

Let me introduce you to the budding premium fashion accessory line of Mr. Kito Flex

Kito Flex

Growing up in Houston, TX, 26 year-old Kito Flex always had big dreams of being successful and always had a love for fashion, especially unique accessories that assisted in making his outfits stand out from the crowd. Kito had the artistic idea to create a men’s accessory line (must be the dog…lol…kidding) that would reflect his unique style while staying true to his Houston roots. In early 2013, the Kito Flex Collection was born.

Kito Flex

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Gia On The Move: “This dude is “killin’ it”! And we love the inspirational message on the back of his labels.  Check out what he recently wrote to his Instagram followers:

Kito FlexIMG_9758-2.“You guys probably never noticed this but, I do have an inspirational message on the back of all my products! Romans 8:18 For I reckon that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us. #HappySunday Be blessed “

Bringing awareness of Houston culture to the forefront and cultivating design filled with inspirational art and creativity the line currently includes four premium sock patterns:

  • Baby Bottles”,
  • the vicious red “Bomb” socks,
  • the swangin’ “SLAB” socks (Slow, Loud, and Bangin aka a fully customized car)
  • and the most popular socks shrouded in “Lean Cups” filled with purple drank, inspired by the music of DJ Screw, UGK, Slim Thug and other Houston legends.

image005“It’s a brand that represents, and is influenced by, a Houston culture…a society that the whole world is slowly trending on. I’ve taken ordinary accessories and just added my creative twist to it and hope everyone else enjoys the art. I believe, no matter race or gender, my brand has something to offer to all individuals.”           – Kito Flex

The popularity of the Kito Flex Collection is spreading like wild fire and currently you can spot Houstonians all over rocking these socks.  We love the line at Gia On The Move because it’s just plain fun and sexy.  Plus we’re huge advocates of edgy entrepreneurs on the pulse! …and Gia will be rockin’ her own pair(s) very shortly. :)

instagram_GOTMLA.comCheck out more on Instagram

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Kito Flex

Currently available at Premium Goods (Houston), Active Athlete (Texas, Alabama, Louisiana), Exclusive Taste (Houston), and Tradition (Beverly Center), just to name a few, you can also buy them online!

Shop Kito

Kito Flex

cheapskategiftsimpress with less!

Highly recommended for stocking stuffers and totally cheapskate gift givers this holiday season!

Deaf West Theatre’s “Spring Awakening” DTLA at Inner City Arts

by Tracey Paleo, Gia On The Move

Spring-Awakening_1-CORRECTED

Just when I thought it would be easy to discount yet another rendition of Spring Awakening on the Los Angeles theatre scene (we’ve witnessed more than a few in the last several seasons), Deaf West Theatre pulled out all the stops and delivered hands-down one of the most exciting, pop/rock musical productions to date.  The kicker — it’s all in sign language!

Spot on casting that was age appropriate with choreography that this former dance/movement professional could finally sink her teeth into, and emerging talent beyond imagination, these kids skipped all of the teen angst and went straight for the love.

Spring Awakening Twitter Hashtag

I was curious, however, about the reason for this play’s never-ending popularity.  So I turned to one of my colleagues sitting beside me during this performance and asked, “What do you think keeps this story going? What keeps it from getting old, keeps it fresh?  I mean, it’s been around a long time.  The issues are not new in any way.  They’re not taboo. Most of them are in the open. And it’s probably a given that generationally teenagers in every age are always going to be different from their parents…want different things than their parents…maybe.”

“Rebellion” was the answer I got.  Rebelling against the status quo.  “Yes, definitely” I thought.  But from my point of view, there was so much more.  It went much deeper than that.

We live in a time where “teen rebellion” almost seems too superficial a label to describe kids today, what they are dealing with, and more to the point how they are handling their environments, the issues from body consciousness, to sexual identities, to bullying, their own spirited emotions, dreams, fantasies and realities – everything really.  And certainly the story itself, although taking place in a century before ours handles the repetitive issue of adolescent sexual awakening.  It’s a topic, we can count on to stay at the forefront of tween to college aged conversations until the end of time as long as teenagers exist. But oddly enough this Spring Awakening, based on Frank Wedekind’s controversial 1891 expressionist play,  concurrently places us in a distant time frame yet appears so modern, so real, so “right now” that mere rebelliousness feels like an old-fashioned ideal.

An exquisite, flawless, cutting-edge ballad of youth for all time.

In truth, all I could see from these kids was pure, unadulterated, naive, passion.  And that is the fully tapped first cause in this production of Spring Awakening that takes the story, the music, the ideas, and all the characters to such a heightened place, there is no coming down from the nirvana.  It is the reason that although the script has a particular set of circumstances that it deals with, it is totally new and appealing to youth who are hormonally exploding and emotionally looking for definition, and wholeheartedly believable and empathetic to seasoned, experienced elders of any crowd packed into the same house, for the same performance. It’s THAT good!

Spring-Awakening_6

Technically, it is utterly mastered and directionally perfected musical theatre. Timing & delivery, sight & sound, choreography, costumes, set design, singing, signing, and acting, is innovative. There is not a single, solitary moment that is out-of-place.  The cast is gorgeous in every way inside and out.  Really, these kids are special. As an ensemble they are unstoppable.

An immersive production simultaneously performed in American Sign Language and spoken English one of the key components which evokes astounding electricity, is that the deaf performers had to very uncommonly pace their signing with the music’s tempo. The entire cast was urged by Director Michael Arden to really stretch. Nine non-hearing actors sign and fifteen hearing actors who had to learn American Sign Language, sing and sign the roles of their deaf counterparts, also acting as inner selves, mirroring their respective character’s stage play resulting in a perfect storm of exposition.

This is the play you absolutely cannot miss!  An exquisite, flawless, cutting-edge ballad of youth for all time.

Def West Theatre Spring Awakening

Presented by Deaf West Theatre in association with The Forest of Arden 

Produced by: David J. Kurs, Christopher Sepulveda and Ann E. Wareham

WORTH THE TICKET!

WORTH THE TICKET!

Now Thru Nov 9, 2014

Recommended for mature audiences only: strong language, nudity and adult themes

Rosenthal Theater
Inner-City Arts
720 Kohler Street
Los Angeles, CA 90021HOW:
(818) 762-2998 or www.deafwest.org

Visit them on Facebook: www.facebook.com/deafwesttheatre
Follow them on Twitter: @DeafAwakening
 
TICKETS:
General admission: $34
Students with valid ID: $30
 
Thursdays at 8 p.m.: Sept. 25*; Oct. 2, 9, 16, 23, 30; Nov 6
Fridays at 8 p.m.: Sept. 12 (preview), 19, 26; Oct. 3, 10, 17, 24, 31, Nov 7
Saturdays at 8 p.m.: Sept. 27; Oct. 4, 11, 18, 25; Nov 1, 8
Sundays at 3 p.m: Sept. 28; Oct. 5, 12, 19, 26; Nov 2, 9

*ASL Nights on Thursday, Sept. 18.and Thursday, Sept. 25: arrive at 7:30 pm for a 15-minute ASL workshop that teaches signs used in the play.

Starring Joey Antonio, Miles Barbee, J.D. Barton, Jimmy Bellinger, Katie Boeck, Joshua Castille, Julian Comeau, Daniel Durant, Treshelle Edmond, Max Fishman, Sandra Mae Frank, Kathryn Gallagher,Gabrielle Garza, Sean Grandillo, Karla Gutierrez, Joseph Haro, Amelia Hensley, Troy Kotsur, Daniel Marmion, Austin McKenzie, Lauren Patten, Natacha Roi, Rustin Cole Sailors, Daniel David Stewart, Ali Stroker, Alexandra Winter

Music by Duncan Sheik
Book and Lyrics by Steven Sater
Based on the play by Frank Wedekind
Directed by Michael Arden
Musical Direction by Jared Stein
Choreography by Spencer Liff
Set Design by Christopher Scott Murillo
 
Deaf West Theatre, in association with The Forest of Arden, reinvents the multiple Tony Award-winning musical about lost innocence and the struggles of youth with an immersive production performed simultaneously in American Sign Language and spoken English. Based on Frank Wedekind’s controversial 1891 expressionist play of the same name and featuring an electrifying rock/pop score, Spring Awakening follows the lives of a group of adolescents as they navigate their entry into sexual awareness. Featuring a cast of 25 deaf, hard of hearing and hearing actors and musicians.
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Lost in Lvov: A Los Angeles Encore Presentation

by Tracey Paleo, Gia On The Move

Lost in Lvov

Sandy Simona is a woman filled with introspective, exuberant joy that when voiced and sung aloud is infectious from the moment you walk into the house.

Lost in Lvov is a melodic slow burn of biographical remembrances and collective memories of things long awaited and yet to be fulfilled, suddenly exploded and turned wildly upside down and inside out.  Imbued with immersive sadness, longing, bliss, ecstasy the stories of love are embroiled into a single, poetic and passionate affair of the heart.

Ms. Simona guides us through sensuality, sexual awakening, terrible loss, dreams of three sisters and above all the twists and turns of the real woman who is her feisty, bold, but secretly broken-hearted mother, exposing the deepest cavities of her soul and revealing her most inner emotions and truths.

This over-the-top, story is inventive and filled with abandon. From her mother’s description of her fat neighbor returning home from the army as the now transformed “not fat anymore” man who becomes Sandy’s father, and who writes poetry to her (mother) like Pushkin, to the desperate woman waiting for the vacuum cleaner salesman who takes the train from Manhattan to Brooklyn, to walks on the boardwalk in Brighton Beach, Sandy offers a high-spirited, strung together, account of her family, emigrated from the Soviet Union, “where the moon came out to dance with the sun before it came down”, now settled in America.

Watch the trailer here:

http://www.youtube.com/watch?v=Nm7eowAXMSU

A hilarious array of personalities including Sandy herself, (not so coincidentally named after Olivia Newton John’s character in Grease), Ms. Simona challenges us and invites us in through comedy, dance, gorgeous live music and word, divulging piece by piece her experiences growing up as a first generation Russian Jew, dating failures, artistic discoveries and the shame of watching her father, a former scientist in his home country, having to work as a greasy mechanic. Most of all she boils down the truth of her mother’s obsession to have Sandy succeed, in love and life: the dream of an academically brilliant student to become an Engineer but deliberately failed by the school for being a woman and a Jew.

This entire show thrives completely in the moment, is hot to the touch and exciting without relief.  An exquisite experience.

Lost in Lvov  was mounted for the Hollywood Fringe Festival 2014 and has been part of the combined artform Producer’s Award ENCORE extended presentations. There are however, no more encore performances left in Los Angeles.  And so we tearfully send this production on its way to New York City for the United Solo Festival at Theatre Row Studios.  If you are an East Coaster you can catch this phenomenal experience in November 2014.  Check the website for tickets.

LOST IN LVOV

Written, Directed, Choreographed and Performed by Sandy Simona

Live music by: Jacob & Julia Kanter, Endre Balgoh from Paris Chansons and Kassandra Kochoshis, Agrenta Walther

Please visit:  www.LostinLvov and www.sandysimona.com

Street League Skateboarding Competes in Los Angeles on July 27th

streetleague.com

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Los Angeles is about to get even hotter  with Skateboarding’s most prestigious professional competitive series.  Street League Skateboarding, will host their second stop competition in Los Angeles at the Galen Center on Sunday July 27th.

After a historical jaw-dropping show last weekend in Chicago, the 2014 SLS Nike SB World Tour will continue to deliver 25 of the world’s best pro skaters competing for the chance to advance to the SLS Nike SB Super Crown World Championship in Newark on August 24.

The 2014 SLS Nike SB World Tour brings the sport’s best street skateboarding to a worldwide fan base with each star competitor seeking to win the Super Crown Championship and further cement their spot in skateboarding history — and and you are invited to be a part of this momentous event.

Congratulations to SLS Nike SB World Tour Chicago champion Nyjah Huston.

In addition to the trophy and $100,000 prize purse, Nyjah holds a “golden ticket” to the $200,000 Super Crown World Championships in August. With one more event before the SLS Nike SB Super Crown World Championship, is 2014 the year that Nyjah sweeps the season?

EVENT INFO:  

GALEN CENTER

July 27, 2014 

BUY TICKETS

The Galen Center Arena is located at the University of Southern California (USC) at 3400 S. Figueroa Street, Los Angeles, CA, and the arena’s box office is located at the corner of Figueroa Street and Jefferson Blvd.

11:00AM PT – Outdoor Expo open to public
12:40PM PT – Arena doors open
1:40PM-4:20PM PT – Prelims (live webcast)
4:20PM-5:00PM PT – Intermission / fan entertainment / pro practice
5:00PM-6:30PM PT – Final (live on: FOX Sports 1, FOX Sports GO mobile app, international webcast)

6:35PM-6:55PM PT – Diamond Supply Co. Presents #DIAMONDLIFE Afterparty Jam Session (live webcast)

Fans across the country can catch the SLS Nike SB World Tour on Fox Sports 1 and FOX Sports GO, as well as the official Street League webcast on StreetLeague.com.  @StreetLeague

 

RIC MONTEJANO, DIRECTOR, CHRONICLER, SILVER LAKE ICON, DIES AT 64

Gia On The Move got the news yesterday and it saddened us to hear it.  This is for my Angelenos, some of whom surely knew and/or worked with Ric. A highly active community centric man, Ric’s passing is surely a loss for the Silver Lake, theatrical and gay communities at large here in Los Angeles.
Rest in peace.  

What follows is a verbatim reprint of the press release.

RicMontejano-in-The-Indian-Wants-the-BronxCSUF

RicMontejano in The Indian Wants the BronxCSUF

 

Richard (Ric) Montejano was born on September 22, 1949 in San Gabriel and grew up in Van Nuys and then La Habra.  In the late 1970’s, he found his true community in Silver Lake where he lived as a creative artist, entrepreneur and activist on his own terms, chasing his passions and accepting the pitfalls, until he died from lung cancer on June 22, 2014 at the age of 64.

After graduating from La Habra High School, Ric attended CSU Fullerton where he developed his talents for choreography and directing as a student of theatre and dance.  In 1970 under Ric’s artistic direction, a troupe of fellow CSUF students formed the communal Dudesheep Theatre Company and moved to San Francisco.  They became the resident company at Lawrence Ferlinghetti’s City Lights Poets Theatre.  Ric directed the West Coast premiere of The Open Theatre’s The Serpent to rousing critical acclaim during the heyday of San Francisco’s experimental theatre boom.

Returning to Los Angeles in the mid-1970’s, Ric continued to perform sporadically as a dancer, actor, choreographer, playwright, producer and director at a variety of local venues including Scorpio Rising, Los Angeles Actors Theatre, The MET, The Fountain Theatre, and Word Space.

Over the years, Ric was a notable presence in Silver Lake.  He unabashedly loved the leafy, hilly neighborhoods that housed an interesting mix of locals who were gay, straight, Hispanic and a “little bit of everything.”  His first ink, in his fifties, was the words Silver Lake tattooed in bold calligraphy across the top of his back.

Ric Montejano spoken word is written down.

Ric Montejano spoken word is written down.

In the 1990’s he was proprietor of Mohawk’s Antiques & Collectables specializing in mid-century finds at his store near the corner of Mohawk and Sunset Blvd.  His knowledge, instinct and style attracted customers, and he loved “the hunt” of finding treasures at thrift stores, garage sales, estate sales and auctions.

Ric succumbed to the drug culture that was part of the unleashed gay lifestyle in the 1980’s and developed a weakness for speed that derailed his career and his health down to a period of sickness and homelessness.  His strong life force and creative energy prevailed, but he continued to fight this personal demon for the remainder of his life.

The AIDS epidemic that swept through the gay community had taken many of Ric’s close friends by the 1990’s and Ric was diagnosed with HIV and other ailments.  His direct link with historic times compelled Ric to write about his experiences as a gay man.  He discovered a knack for composition and cadence coupled with a distinctive and honest point of view.  He wrote with raw clarity about what he had observed and fantasized, including the Gay 80s, AIDS, crystal meth, incest, obsession and murder.

In SLHC Interview with Ric Montejano by Richard Goldin and Marco Larsen for the Silver Lake History Collective, Ric discusses his life and the evolution of the gay community in Silver Lake.  The interview can be seen here: 

In 2008 at the Highways Performance Space in Santa Monica, Ric’s stories were performed under the title The Unforgiving Road, a journey down the mean streets through the eyes of a survivor.  Ric’s spoken word interpretation of his own stories went on to mesmerize and inform diverse audiences at many other venues and festivals in Los Angeles.

As his declining health kept him closer to home, Ric and his tiny tufted foundling Chihuahua-mix Sparky (the “velcro dog”) could be seen on their daily stroll down Silver Lake Blvd. to the 7-11 for a Big Gulp and the paper.  Every Saturday Ric became “the lamp man” and sold distinct, eclectic, collectable lamps from the curb in front of his Silver Lake apartment.  A steady stream of friends, neighbors, and passers-by populated his sales and enjoyed his generous, low key camaraderie.  They brought him food, reading matter, and even special finds for him to appraise or sell.

Ric detested threats to the character of his cozy, friendly Silver Lake neighborhood.  He became a community activist by spearheading the successful effort to ban digital billboards near his home on Silver Lake Blvd., close to the Silver Lake reservoir and the dog park.  Ric and Sparky stood daily across the street from the intrusive flashing electric sign that had been installed at Silver Lake and Effie, holding a hand-made poster that said “HONK if you hate the billboard.” His efforts and objections attracted major media attention that eventually unleashed a floodgate of protests to city hall until the sign was eventually removed.

ric on LOST bench

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Ric is one of the “Faces of Sunset Blvd.” in photographer Patrick Ecclesine’s book of the same name.  His “Lost” portrait of a shirtless Ric with a blond Mohawk haircut on a bus bench was featured in exhibits at LA City Hall, Arc Light Hollywood and at the Berlin City Hall-Germany.  Another candid portrait of Ric writing at his kitchen table by photographer Phil Chin was exhibited at the Pasadena Armory.

In 2011, Ric fulfilled a lifetime ambition to take a show he directed to New York City.  Performance artist John Fleck, a sometimes collaborator and longtime friend, asked that Ric help direct his auto-biographical one-man show, Mad Women.  Ric’s gifts for restraint, for visual and aural composition, and for focus on what’s essential, heightened the impact of Fleck’s stream of consciousness memory show that wove the story of an aging Judy Garland with that of John’s mother, Josephine Fleck who died of Alzheimer’s disease.

The show opened at the Skylight Theatre in Los Feliz to rave reviews and an extended run.  Then John and Ric travelled to La Mama NYC where a review from New York’s Stage and Cinema commended Ric for “weaving the show together with finesse and panache and a great deal of heart…never forgetting the darker truths or the human warmth.”  In L.A., John Fleck received an LA Drama Critics Circle Award for this production.

​Mad Women Director Ric Montejano – Photo by Ed Krieger

​Mad Women Director Ric Montejano – Photo by Ed Krieger

Ric is survived by his loving, strong, active family of friends.  He has been clear that he has no regrets over the life he chose.  In his own words, from his story “Beauty,” Ric says, “I don’t regret chasing the dragon or flying too close to the sun.  I don’t regret biting off more than I can chew or my nose to spite my face.  I don’t regret eating crow or humble pie.  I don’t regret walking down roads that led nowhere.  This journey is MINE.”

To send donations for several legacy projects, including publication of Ric’s Silver Lake stories, contact montejanomemorial@gmail.com .

Gustavo Godoy and the Architecture of Movement

Body Traffic

Stepping into a dancer’s arena is special.  Athletic and often quirky  there is no lack of adventure in the process of discovery.  On one particular occasion the unknown extended to more than just choreography.

Several weeks ago marked the unveiling of a newly built stage designed and entirely constructed by local Los Angeles artist Gustavo Godoy who built a large-scale sculpture for the dance performance RESTRUCTURE. The structure is a hightlight of the Dance Camera West Dance Media Festival  which took place this past weekend at the Music Center Plaza downtown LA and will end on June 13th.

Dance Camera West L.A. Presents “Restructure” 13th Annual Dance Media Film Festival

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BodytrafficBODYTRAFFIC Company Members Brandon Alley, Tina Berkett, Bynh Ho, Guzmán Rosado, Yusha Sorzano and Andrew Wojtal took their very first steps onto the structure in a private rehearsal presentation guided by choreographer Victor Quijada.

How much weight could each platform hold? Which pieces would be deliberately pulled apart? Which spindly extensions, crevices and holes could the dancers maneuver through?

The process was drawn out at first barely inching along.  But slowly, gradually, bodies moved noticeably faster with more agility directed by Victor  who encouraged the dancers to take more risks.  Not that they needed to be asked. In no time, the whole company went from crawling to swinging along. To witness this merging of movement and architectural art was no less thrilling and inspiring.

Gustavo-GodoyArtist Gustavo Godoy’s large-scale sculptural installations are site-responsive, informed by both the surrounding environment and the body’s potential relation to the work. Made of industrial materials such as plywood, plexiglas, and florescent lights, their dynamic constructions invite a physical experience– for one to climb, sit on, and even walk through. Godoy’s sculpture at the plaza of the Music Center is acting as a structural armature, an object specifically purposed for dance movement, with built-in ramps and passageways that the dancers interact with and perform on. Many of Godoy’s architectural sculptures are made largely with materials recycled from his other artworks. In concert with the “RESTRUCTURE” theme of this year’s DCW festival.

Victor-QuijadaChoreographed by Victor Quijada, Co-Artistic Director of RUBBERBANDance Group and award winning choreographer/dancer. From the hip-hop clubs of his native Los Angeles to a performance career with internationally-acclaimed postmodern and ballet dance companies such as THARP!, Ballet Tech, and Les Grands Ballets Canadiens de Montréal. He has created over 24 short and full-length pieces both within the company structure and as commissions, and has toured with his company across North America, and in Europe, Japan, and Mexico. His work eloquently re-imagines, deconstructs, and applies choreographic principles to hip-hop ideology, examining humanity through a unique fusion of aesthetics. His most recent film, Gravity of Center, won Best Experimental Short at the 2012 CFC Worldwide Short Film Festival and screened at DCW in 2012.

BODYTRAFFIC is a non-profit repertory dance company that thrives in Los Angeles. The company recruits great talent from around the globe to create world-class contemporary dance in the city of angels. BODYTRAFFIC’s growing repertory is vibrant, inspiring, accessible, and provoking to both new audiences and experienced dance enthusiasts. Born from the sheer love of dance, BODYTRAFFIC’s spirited environment is flourishing because of its dedication, passion, and exquisite talent.

 A co-commission by Dance Camera West and The Music Center.

Modern Dance Legend Mary Anthony Dies at 97

Mary Anthony in a 1947 photo by Peter Basch

Mary Anthony in a 1947 photo by Peter Basch

Mary Anthony

(November 11, 1916 – May 31, 2014)

Gia On The Move is saddened to announce:

Mary Anthony, a national treasure and legend of modern dance, died in her studio home in the East Village in New York City on May 31, 2014 at the age of 97.  Former company member, Daniel Maloney who is the Artistic Director of the Mary Anthony Dance Theater Foundation, was like a son to her and took care of her to the end.

Mary Anthony is recognized as one of the leaders of the modern dance movement both as a choreographer and an exceptional teacher .  She was the 2004 recipient of the Bessie Award for lifetime contribution to the field of modern dance. In 2006 she received the Martha Hill Award. Other awards and honors include: Joy Ann Dewey Beinecke’s Balasaraswati Award from American Dance Festival, American Dance Guild Award of Artistry, American Dance Association Award, New York State Dance Education Award, and Channel One New Yorker of the week. In 2004 she was entered into the Dance Hall of Fame as part of an installation for the New Dance Group at the Saratoga Dance Museum and in 2011 she received a Citation from New York City Comptroller Scott Stringer at her 95th birthday, declaring November 11 as Mary Anthony Day.

Mary Anthony, a native of Kentucky, began her career with a scholarship in dance with Hanya Holm in the early 40’s, eventually joining the Holm Company and becoming her assistant. She was an original member of the radical modern dance organization The New Dance Group in the 1940’s. Ms. Anthony danced in concerts with Joseph Gifford as well as appearing in many Broadway Shows. Her staging of the London production of Touch and Go, in which she danced one of the leading roles, resulted in a long association as choreographer for Italian Musical Theater.

Ms. Anthony started the Mary Anthony Dance Theater in 1956. Following the premier of Ms. Anthony’s signature work Threnody – for which composer, Benjamin Britten gave his special permission to use his Sinfonia da Requiem – Louis Horst wrote, “Here is the most beautiful and complete dance composition this observer has seen.” Her company performed throughout the United States for over 40 years, including appearances at Jacob’s Pillow, The American Dance Festival, the Berkshire Music Festival at Tanglewood and toured as part of the Dance Touring Program of the National Endowment for the Arts, and for over 30 years presented home season performance in New York City. Jennifer Dunning of the New York Times described Ms. Anthony’s Songs as “hauntingly lyrical with the emphasis on simplicity and ageless craft.” In 1996, Mary Anthony Dance Theater celebrated its 40th Anniversary seasons at The Sylvia and Danny Kaye Playhouse in New York City. In 2004 Ms. Anthony reconstructed one of her oldest works, Women of Troy, on Dancefusion, which was presented in Philadelphia along with her legendary solos Lady Macbeth danced by Mary Ford Sussman. In 2009 her work The Devil in Massachusetts from 1952 was reconstructed by the 360º Dance Company.

An internationally recognized choreographer, Ms. Anthony has had her works added to the repertory of Pennsylvania Ballet, Bat-Dor Company of Israel, the Dublin City Ballet, Dancefusion in Philadelphia and the National Institute for the Arts of Taiwan. Ms Anthony taught at the Herbert Berghof Studio for Actors in New York City for many years.  Shetaught at her own studio at 736 Broadway for over 50 years, retiring only last year.   In November 2013 a Tribute to Mary Anthony was presented as part of Fridays At Noon at the 92nd Street Y, honoring her legacy in modern dance and her 97th Birthday.

Mary Anthony has been an extraordinary presents in the dance community and the artistry and depth of her choreography is timeless. She will live on through the dancers she trained and the people who loved her. Andrea Pastorella, one of her long-time students stated the following, “Mary continued to teach, she never lost her “Eagle Eye” even when the right eye failed she never missed a blink. She would only give a compliment if she really meant it. Her honesty was relentless. One of the things that she loved most was teaching her choreography workshops which culminated twice a year at her studio with performances. She used to say: ‘These shows are what I live for’!”

Mary Anthony loved flowers and still has a bulb that has been coming back for 40 years. It was given to her by Ross Parkes, who was Associate Artistic Director and principal dancer with Mary’s Company for many years. She loved walking in nature, planting and growing her own tomatoes in the dance studio.  She loved cats, nature programs, travel, adventure, Ireland (her parents were from Ireland), hot coffee, a hot bath, taking a sauna, and good food. She spent summer weekends on Fire Island with her good friend of 60 years, Maya Helles with whom she loved watching the “Britcoms” and talk about dance.

Donations in Mary Anthony’s memory can be made to the Mary Anthony Dance Theater Foundation and sent to 736 Broadway, New York NY 10003. A memorial service will be scheduled in July please call the studio at 212-674-8191.