Megan Williams

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Megan Williams hails from Los Angeles, CA and Toronto, Canada where she began her dance training as a high school student. After graduating with a BFA from the Juilliard School in 1984, she worked in the companies of Laura Glenn, Ohad Naharin, and Mark Haim, among others. In 1988 she joined the Mark Morris Dance Group with whom she danced for ten years, toured worldwide, taught and appeared in several films, including Falling Down Stairs (with Yo Yo Ma) and The Hard Nut (PBS’ Dance in America). She has recently been performing with MMDG as Lady Capulet in Morris' Romeo and Juliet: On Motifs of Shakespeare. She has staged Morris’s works on students at George Mason University, Vassar College, the Fieldston School, the Juilliard School and on the Boston Ballet as well as on the renowned Purchase Dance Corps. Megan has been on the modern faculty of the Conservatory of Dance at SUNY Purchase College since 1999. She owes much of her teaching inspiration to her ongoing study of the neuromuscular work of Irene Dowd and Peggy Baker. In April 2008, at the request of Paul Simon, she directed Songs from the Capeman, the concert version of Simon's Broadway musical The Capeman at BAM's Harvey Theater. Dancenow/NYC has presented her choreographic work at Joes’ Pub and Dance Theater Workshop, and she is currently working on a short dance play for the Naked Angel's Issue Project, to be seen in Spring 2010. For Richard Daniels, Megan danced Terpsichore in his Apollo & the Muses at Danspace Project at St. Mark's Church (2005).

Christine Redpath

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Christine Redpath is a Ballet Master with New York City Ballet. Ms. Redpath joined NYCB as a corps member and was soon promoted to soloist performing principal roles in much of the Balanchine and Robbins repertoire as well as in ballets by other choreographers such as Ashton and Tudor. Her partners have included Peter Martins, Jacques D’Amboise and Helgi Tomasson and during her three years at the Zurich Ballet under the directorship of Patricia Neary, Rudolf Nureyev. As a Ballet Master at NYCB she has worked with noted choreographers such as Lar Lubovitch, Laura Dean, Lynne Taylor-Corbett, Eliot Feld, Angelin Preljocaj, Mauro Bigonzetti, Helgi Tomasson and Susan Stroman. In addition to staging works for the Jerome Robbins and George Balanchine Trusts, she has re-staged works on many other companies such as The Paris Opera Ballet, The Royal Ballet of Flanders, The Australian Ballet, Pacific Northwest Ballet, Ballet British Columbia, The National Ballet of Canada and The San Francisco Ballet.  She presently serves as a member of the Advisory Committee to the Jerome Robbins Trust and is one of four Ballet Masters designated by Mr. Robbins to maintain and stage his ballets.

Deborah Jowitt

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Deborah Jowitt began to perform professionally in 1953, to choreograph in 1961, and to write about dance for The Village Voice in 1967. Most recently, she has performed her own solo Body (in) Print and appeared in productions of From the Horse’s Mouth. She has published two collections of her writings, Dance Beat (1977) and The Dance in Mind (1985), in addition to Time and the Dancing Image (1988) and Jerome Robbins: His Life, His Theater, His Dance (2004). She edited and contributed to Meredith Monk (1997). Her essays have appeared in numerous journals and anthologies. She lectures and conducts workshops worldwide, as well as teaching in the Dance Department of New York University’s Tisch School of the Arts.

Regina Larkin

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Regina Larkin, artistic director of the Joyce Trisler Danscompany, is internationally recognized for her dance performances and teaching in Iraq, Europe, South and Central America as a representative of the United States Information Agency's cultural missions. She was professor of dance at Adelphi University for 27 years during which she was the first American teacher to bring the Lester Horton style of modern dance to Taiwan. She served as executive director with Igal Perry and faculty member at Peridance, Elliot Feld Ballet Tech, and the Alvin Ailey American Dance Center. As a recipient of New York State Cultural Arts grants for more than two decades, she developed urban and rural creative youth programs. She continues to choreograph, dance and restage the dances of Joyce Trisler for companies and American colleges and universities. Her musical theater collaborations began with Jonathan Larson in the 80s and into the 90’s and continue now with the Thalia Follies directed by Isaiah Sheffer. Regina is the education associate at Symphony Space coordinating cultural arts education to New York City public, private, home schools and other community institutions. She has danced for and performed with Richard Daniels since 2003.

Carmen de Lavallade

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Carmen de Lavallade made her professional debut at the age of seventeen in the title role of Salome with the Lester Horton Dance Theatre, Los Angeles, California. She made her New York City debut in the Broadway show House of Flowers written by Truman Capote with music by Harold Arlen. After she debuted as principal dance artist with the Metropolitan Opera’s productions of Aida and Samson and Delilah, she returned in 1992 to choreograph Porgy and Bess, Die Meistersinger, Rusalka and Lucia de Lammermoor. During this period she worked with some of the most exciting choreographers in the dance world, her husband Geoffrey Holder, John Butler, Glen Tetley and Alvin Ailey, to name a few. Her guest artist engagements include dancing the lead in Agnes de Mille’s ballet The Four Marys for American Ballet Theatre, appearing as principle soloist in the New York City Center production of John Butler’s Carmina Burana and also with Mr. Butler’s company in the Festival of Two Worlds in Spoleto Italy. Under the auspices of the State Department, she toured the Far East with the de Lavallade-Ailey American Dance Company. More recently, she choreographed the ballet Sweet Bitter Love for the Alvin Ailey American Dance Theatre. Carmen is presently a member of the dance company Paradigm with founder Gus Solomons Jr.