Meet Lauren Butler

Lauren Butler  will perform Formity on April 30th at HATCH.  Read on to get acquainted with her work…

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Choreographer bio

Lauren Butler holds a degree in dance from the University of Minnesota, as well as a degree in mechanical engineering. In Minneapolis she danced with Ray Terrell Dance Group and University of Minnesota Opera, and she created her own dance works with innovative music tech. In La Paz, Bolivia she danced, taught, and choreographed with a folkloric dance company and a contemporary company ArteMóvida. In NYC she is a scholarship student with Jennifer Muller/The Works, has performed in choreography by Jacqulyn Buglisi and Molisa Fenley, She has presented choreography at HATCH Presenting Series and Columbia University, where she is currently studying and researching water resources.

Why is it helpful to present a work in progress?

Getting a sense of what comes across through the choreography is helpful so I can shape the movement, expressions, and music to find a balance between a cohesive story and an experience that leaves room for interpretation.

Who are the most rewarding dancers for you to work with and why?

I work with dancers who are versatile in many styles and who are willing to try new things, because it allows me to be more daring in my creativity.

Why is it important to present this piece of choreography to audiences in NYC?

I’m sometime surprised at what audiences remember or interpret from my choreography, and I love hearing it every time. It’s like how verbal processing helps some people understand a situation or experience better- sharing it helps me understand my own work better. Presenting in NYC is great because probably someone in the audience has seen something similar to what I’m presenting, no matter how creative I thought my process was. That challenges me to consider how I’m presenting, and find an authenticity in creation.  

What should HATCH audiences look forward to in your work?

A space created for imagination and reflection.

Meet Chelsea Rodriguez

Chelsea Rodriguez will perform a  piece titled 42 on April 30th at HATCH.  Read more about Chelsea Rodriguez below…

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Chelsea Rodriguez has been dancing in group and solo projects in NYC for the past 7 years. Most recently she has been a dancer of Sawtooth Dancers for the past five years.  In addition to Sawtooth and her solo work she has also had the pleasure of working with Elizabeth Streb, Rakia Seaborn, Davon Chance, Ben Dolphin, Mandy Hackman, Amy Campbell and Elaine Ruscetta.  She has performed at venues including Brooklyn Arts Exchange, The Muse Brooklyn, Streb Lab for Action Mechanics, The Tank, The Hive NYC, Dixon Place, Joyce Soho and The Wild Project.  In addition to her dancing Chelsea also performs as a drag performer in NYC nightlife under the stage name Ballerina Bizet.  She is an undergraduate of Florida State University’s BFA dance program, Summa Cum Laude.

Why is it helpful to present a work in progress?

I think these kinds of opportunities are a wonderful way to develop a second self-awareness within the piece. I feel there are some elements a choreographer does not realize until the piece is brought to a performance setting. I have known from personal experience that whether it is within the moment or watching the video afterwards there will be movement, direction, etc. that did not read the way I thought they would. In addition, it is also helpful to get a second opinion from other sources. While an artist should have a concept and inspiration for their work, an outside eye can help you see things you may not have been initially aware of and create new questions to explore as you develop the piece.


Who are the most rewarding dancers for you to work with and why?

While the work I am presenting is a solo piece, some of the most rewarding dancers/choreographers I have worked with are Cristina Jasen ‘CJ’, Mandy Hackman, Elaine Ruscetta, Angela Butch and Davon Chance. They are all artists who have clear vision when they create but still allow for a dancer to include their input and thoughts. They always have a high level of respect and trust for their dancers, whether they are directing the work or moving beside you.


Why is it important to present this piece of choreography to audiences in NYC?

In the past few years I have been exploring ways to truly blend the art forms of dance and drag. As I have performed in the nightlife community I have seen many wonderful ways artists have abstracted the drag form. I guess you could call this my form of abstraction, choreographing my dance movement with drag and theatrical elements. I want to share how I’ve have taken mainstream elements and abstracted them to convey deeper ideas. I know obviously this is not a “groundbreaking” idea, but I am still looking forward to presenting my twist on it.


What should HATCH audiences look forward to in your work?

Quirky movement style, theatrics, glitter and some possible lip-syncing

Meet Haley McElwee and Simantikos Dance Chicago

Simantikos Dance Chicago will perform a  piece titled Smile!  on April 30th at HATCH.  Read more about Simantikos Dance Chicago below…


Choreographer Bio:

Haley McElwee is a Chicago-based dancer/choreographer/instructor. She graduated from Indiana University in 2015, where she performed and understudied works by Paul Taylor, David Parsons, Dayton Contemporary Dance Ensemble, Eisenhower Dance Ensemble, and more. Haley has attended numerous workshops and masterclasses, including those through CNADM, Interlochen Arts Academy, Thodos, River North, and Dance Italia. Haley began teaching at her home studio, Debbie Werbrouck’s School of Dance, and continued to pursue her interest in dance education throughout college by teaching at Windfall Dance Studio, traveling to teach in Panamanian Orphanages with Movement Exchange, and interning as faculty with Soul Arts Academy in New York City. Haley founded and directed Pre-College Dance Exchange – South Bend in the summer of 2014 and is continuing to build programming for yearly sessions in other cities. Haley currently teaches dance at NKO-UChicago Charter School, Woodlawn Elementary, and Kenwood School of Ballet. In addition to dancing with Simantikos, she also dances with Innervation Dance Cooperative and Project606.

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Dancer Bios:


Gloria Mwez is an artist who choreographs, teaches, and performs dance primarily in Chicago. She’s currently a choreographing company member of Matter Dance Company. MDC has been voted Best Dance Company in the Chicago Reader’s Best Of for 6 years. Chicago Untitled Project is the name of her cross-genre collaboration collective. She’s worked with and studied many genres of dance but her focus is contemporary jazz and contemporary hip hop.She’s toured with TapMan Productions and performed with Second City, KK Tyler Producitons, Movement Revolution Dance Crew, and David Dorfman Dance as well as several other groups. You can see her currently as a guest performer with Simantikos dance Chicago and a company member of Chicago’s Modern Marvels.


Christina Pouagare grew up in Dayton, OH and began dancing at the age of seven.  She moved to Chicago in 2012 and graduated summa cum laude from DePaul University in 2014 with a B.A. in Communication and Media and a minor in Italian. She is currently pursuing her Second B.A. in Dance from Columbia College Chicago. Christina has attended various workshops in the city, working with companies such as River North Dance Chicago, Same Planet Different World, and Lucky Plush Productions.  She has performed with companies such as Movement Revolution and Untitled Project, and has worked in the education departments of River North Dance Chicago and Design Dance.  She also has experience teaching special needs students at Jones College Prep High School.  Currently, Christina is a teaching artist with Design Dance.  In addition to dancing with Simantikos, she is also a dancer with Innervation Dance Cooperative.


Nikki Renfroe, a native of the Chicago area, began studying dance at the age of three. Since then, she has gone on to receive her Bachelor of Fine Arts degree in Dance from the University of Illinois at Urbana-Champaign, as well as a Minor in Psychology. She has had the privilege of training through workshops and intensives with Deeply Rooted Dance Company, L.A. Contemporary Dance Company, and Inaside Dance Chicago, and continues to study at Lou Conte Dance Studio, Visceral Dance Center, and Joel Hall Dance Center. Nikki teaches dance at Intuit Dance Studios in Oak Park and Forest Park. She is also the instructor/choreographer and director of the dance program at Trinity High School. Nikki also currently dances with Noumenon Dance Ensemble.


Danielle Wilder is a dancer, instructor, and choreographer from Westmont, IL. She graduated from Hope College in 2012 with a B.F.A in Dance Performance and Choreography. While at Hope she performed works by Linda Graham, Amanda Smith-Heynen, Tracy Kofford, Matthew Thornton, Alicia Diaz, and Dorrell Martin. During the summer of 2012, Danielle participated in the Deeply Rooted Dance Theater Summer Intensive, where she performed works by Kevin Iega Jeff and Joshua Ishmon. Some of Danielle’s recent work includes dancing and choreographing for musician Shuree, as well as being a featured dancer in her music video “One Girl Can Change the World,” performing in Freespace Dance Festival, and being selected as one of the top 4 finalists for F.A.M.E Competition. Danielle now teaches at DLD Dance Center, is an Assistant Director of the Auroris Dance Company at Niles North High School, and is also a company member with DLD Dance Company and Ardent Dance Company.

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Why is it helpful to present a work in progress?

Showing works in progress encourages the progress of our work. It enables us to get feedback early on, making it easier to change, omit, and rearrange when an idea or intent isn’t coming across the way we had hoped.


Who are the most rewarding dancers for you to work with and why?

I love working with dancers who take interest in the work outside of just the movement. I like to know that they are considering, questioning, and even challenging the intent as I think it shows investment and the process overall is more enjoyable and interesting.


Why is it important to present this piece of choreography to audiences in NYC?

For us, it is important to present this piece of choreography to audiences in NYC because we have/are presenting the work to audiences in our home city (Chicago). It is important to get perspective and feedback from audiences outside of our home base. NYC is a hub of artists that we are eager to network/collaborate with and learn from.


What should HATCH audiences look forward to in your work?

In our work, HATCH audiences should look forward to intentional messages, humorous yet assertive tones and unique and dynamic movement.

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Meet The Legible Bod(ies)

The Legible Bod(ies) will perform a solo piece titled NarcissUS  on April 30th at HATCH.  Read more about The Legible Bod(ies) below…

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Choreographer bio

Noel makes dance happen. She holds her BA in Dance and Biology from Goucher College where she worked with artists including Miguel Gutierrez, Kathleen Hermsdorf, Sara Pearson and Patrik Widrig. Noel continues her education through workshops and master classes in NYC and at festivals throughout New England. She is on faculty at Elms College and the Artistic Dance Conservatory, specializing in contemporary jazz technique. As a guest artist, she has enjoyed teaching and creating work for The Williston Northampton School, Shadows Dance Art Experience, Westfield High School, The Loomis Chaffee School, and the NCAA Elite 8 Dance Team among others. She is also the coach for the Elms College Dance Team and Founder/Director of the the Elms College Community Concert for Charity. As a dancer for Eclipse Dance Company, Noel has performed throughout the Northeast at events including the Boston Contemporary Dance Festival, Plymouth State Dance Premier, and the Brooklyn Dance Festival. Her first project as Artistic Director, The Legible Bod(ies) made its performance premier at the 2014 Southern Vermont Dance Festival. When not in the studio or on stage, Noel enjoys bringing the art of dance to Western Mass audiences as Board Member of the Massachusetts Dance Festival. Through her work, Noel has brought dance performances to events large and small, broadening community appreciation for dance and expanding the role of dance as a tool for social and cultural change. You can keep in touch with Noel and learn more by visiting


Dancer bios

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Marissa Chmiel began dancing at the age of three at Dance Workshop in Ludlow, MA. Upon entering high school, she began studying at the New England Dance Conservatory in East Longmeadow, MA with Kennneth Lipitz and Shelley Ziebel in the Conservatory’s Company, known as the New England Dance Theater, and in their Pre-Professional Company with concentrations in ballet, pointe, and modern dance. As an undergrad at Elms College, Marissa began dancing with the Elms College Dance Team (ECDT) with Noel St. Jean-Chevalier as Coach and Choreographer. During her last two years of ECDT, Marissa took on the roles of Rehearsal Captain and Team Captain. Marissa graduated with a Bachelors of Science in Nursing and currently works as a Registered Nurse. Marissa also dances with Eclipse Dance Company and is very excited to begin a new journey with The Legible Bod(ies)!

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Jennifer Roy grew up in Ellington, Connecticut where she attended a local dance studio for 15 years. While there, she studied all forms of dance, performing competitively and receiving awards for her work in contemporary dance. She was also a member of the Ellington High School Dance Team and worked as a student instructor, inspiring young dancers and assisting with classes. Jennifer is currently a freshmen at Elms College studying Communication Sciences and Disorders. She continues to feed her passion for dance as a member of the Elms College Dance Team and as the newest Bod(y).

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Haley Zdebski is a Connecticut native, who graduated Magna Cum Laude from SUNY, The College at Brockport, with a BFA in dance in the Spring of 2014. Haley has had the pleasure of working with the Bill Evans Dance Company, Mariah Maloney, and Shelley Ziebel. Haley attended the American Dance Festival on full scholarship in the Summer of 2013, where she reconstructed and performed Merce Cunningham repertoire. She also worked at the Bolshoi Ballet Academy Summer Intensive 2014-2015. Currently, she works as a teaching artist and ensemble member for the Judy Dworin Performance Projects, and a company member of DancEnlight under the direction of Lorelei Chang. Haley is the Assistant Director of Figments Youth Dance Ensemble out of Hartford, CT. Over the last few years, she has performed her own work at various venues in New York and in Connecticut. Haley also works at the Ethel Walker School, Stafford Academy of Dance and EdanSe Company and Ballroom.


Why is it helpful to present a work in progress?

Feedback and growth are essential to the choreographic process. Presenting this work in progress will allow me to asses the audience’s perspective and understand if my work resonates with the viewer. One of my goals as a choreographer is to use the body as a tool to convey feeling, story and experiences with my audience. As I strive to create art that achieves this goal, it is valuable to check in with my viewers and gain insight from their experience.


Who are the most rewarding dancers for you to work with and why?

Open dancers make my work possible. I don’t always need a studio full of the most accomplished technicians or the the most physically cohesive troupe. I just want to be surrounded by artists who are willing to take risks, be vulnerable, and who trust in the process. As evidenced by our company members, no two movers are alike, and I think that fact, combined with their collective willingness to explore, makes for a rewarding creative experience.


Why is it important to present this piece of choreography to audiences in NYC?

I think oftentimes NYC is viewed as a mecca for dance. Many great artists create and show their work here. Audiences flock here to see great art. Having the opportunity to feed from that energy is powerful. Additionally,  I am fiercely proud of my roots in Western MA. I think that there is a great emerging dance scene in the Pioneer Valley, and I hope to represent that community. Creating connections between the artists of NYC and Western MA can also offer great opportunity for artistic growth.


What should HATCH audiences look forward to in your work?


No, seriously though, I hope the audience is moved. I hope they connect with the dancers and the movement in some way that makes them glad they were there. I cannot assure that we will all have the same experience, but I hope we all enjoy it.


Meet Buggé Ballet

Buggé Ballet will perform a solo piece titled Winter to Autumn  on April 30th at HATCH.  Read more about Buggé Ballet below…

Nicole Buggé Headshot_photo by Samantha Lawton

Choreographer bio: Nicole Buggé holds an MFA in Dance from NYU and a BFA in Dance and Choreography from VCU. Nicole has performed with numerous companies including Richmond Ballet, American Repertory Ballet, Exit 12 Dance Company, and in original works by Deborah Jowitt, Cherylyn Lavagnino, and Sydney Skybetter. Internationally, she has performed in Scotland and Italy.  As the Artistic Director for Buggé Ballet, her choreography has been performed at The Edinburgh Fringe Festival, Breaking Glass: The Emerging Female Choreographers Project,  Lincoln Center,  Bryant Park, with One World Symphony, and seen on WHYY PBS Friday Arts Series as part of Rider University’s Emerging Choreographer’s Competition. When she’s not on stage or in the studio Nicole can be found working as the Media/Publishing Manager for Dance Magazine.

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Dancer bios: Hannah Foster grew up in Northern California where she trained at San Francisco Ballet School on scholarship. She graduated with honors from Skidmore College, earning her B.A. in English Literature with a concentration in creative nonfiction writing. Hannah then danced with Boston Ballet as a trainee for its 2013/14 season and later joined Orlando Ballet as a second company member. Her repertoire includes professional roles in San Francisco Ballet, Boston Ballet, and Orlando Ballet productions.

Hannah is currently an assistant research editor for Dance Media publications in NYC and is delighted to be creating work with Buggé Ballet.

Why is it helpful to present a work in progress? It is important to get a piece out of a studio and assess how it is received by an audience. As choreographers, we are often see the movement from only our perspective. Presenting our work in progress allows us to obtain objective feedback. Understanding audience reactions is helpful to develop the piece.


Who are the most rewarding dancers for you to work with and why? I enjoy working with dancers who are eager to perform, willing to engage with the audience and hungry to grow as an artist. Working in the studio with energized dancers is important to the choreographic process. As a company we place a premium on dancers who are excited to work on new pieces and engaging of their audience to bring the movement alive. This makes the process enjoyable for everyone involved.


Why is it important to present this piece of choreography to audiences in NYC? Presenting this piece to sophisticated audiences that can be found in NYC allows me to obtain understanding and feedback on the work. Winter to Autumn is part of a larger vision, an evening length performance, and interacting with NYC dance audiences provides me with the opportunity to see how my vision is seen.


What should HATCH audiences look forward to in your work? Audiences will be excited to see quick pointe work with syncopated heads and complicated arm patterns all executed in an up beat tempo. These allegro steps are contrasted with an adagio section where the soloist ballerina challenges the slower music pace with longer balances and leg extensions.


Meet Mjean Dances

Mjean Dances  will perform a solo piece titled Feeling This  on April 30th at HATCH.  Read more about Mjean Dances  below…


Choreographer bio:

Marissa Jean, a New York native, started her early training through Broadway Dance Center’s Children & Teen Program. From there, she became a member of their Arts In Motion Company where she got to perform at such events such as the Macy’s Thanksgiving Day Parade, The Today Show, and the Kids Cafe Festival. She had the opportunity to train and perform works by Frank Hatchett, Tracie Stanfield, Heather Adzima, Chio, Ms.Vee, and Pam Chancey.Marissa continued her studies at The New School and received her B.A in Dance under the direction of Neil Greenberg. During her years there she performed in works by Karla Wolfangle, Joao Carvalho, Take Ueyama, Ori Flomin, Ana Sokolow, and the Trisha Brown Dance Company.Upon graduation Marissa began working at various studios across Queens and Long Island. She has performed professionally with Long Island Dance Project, Community Dance Project, Cedan Dance, Michelle Duvall Dance Collective, and Stefanie Nelson Dancegroup. She was given the opportunity to perform at The Hatch, Center for Performance Research, Ailey Citigroup Theater, Triskelion Arts, Dixon Place, and for the Biomorphic Dance Festival. In addition to dancing, Marissa is currently the Program Coordinator for an international dance program called Dance Italia.


Dancer bios:

Brittney Salerno– Brittney has been dancing since the age of 2. She currently studies various genres of dance at North Shore Studio of Dance in Long Island, NY. Her performance credits include Heckscher Park, Fox Hollow, Southside & Huntington hospital, Downtown Disney & Universal Studios. She is very excited to be performing for the first time in NYC.

Questions for the blog-

Why is it helpful to present a work in progress?

A work in progress is something that’s fresh and new. It has room to grow and develop into something deeper than you originally thought. Presenting a work in progress is for me expressing a thought, it’s valuable to me as a choreographer so I can show a work that is in the beginning stages and then see where it can take me.


Who are the most rewarding dancers for you to work with and why?

A dancer that can bring my thoughts and ideas to fruition is a dancer that I feel fortunate to work with. Their personality and dedication emulates into the piece, which adds something more than just steps. The dancer understands all the details and are particular in the way it is carried out.


Why is it important to present this piece of choreography to audiences in NYC?

Considering this is my first debut work in NYC, I find it very important to gain different perspectives from people in different walks of life. These audience members can look at something that is fresh and add valuable critiques and viewpoints that can make me look at my piece from a different angle.


What should HATCH audiences look forward to in your work?

I like to create work that is fluid and very clear with gestural accents. The performance takes you on a journey but to be interpreted as each audience member sees fit. This piece is constructed around a world that is unsettling. It has an eerie sensation but slightly comforting to see how the dancer navigates through it.


Meet Kailey McCrudden

Kailey McCrudden  will perform her group piece titled they’re there their  on April 30th at HATCH.  Read more about Kailey  below…

Choreographer bio:


2014 Diamond Research Scholars Grant recipient, Kailey McCrudden fostered a love of dance and football in upstate NY. She received a BFA in dance from Temple University in May 2015, summa cum laude, performing in works by Andrea Miller and Larry Keigwin, and studying under Kun Yang-Lin, Jillian Harris and Merian Soto while there.  Now a NYC based choreographer and dancer, Kailey’s work has been performed at the Green Space, BAX, Philadelphia Fringe Festival, Inhale Performance Series, ECT Performances Series, Triskelion Arts, The Hatch Series, and Bates Dance Festival New Works Showcase.  She has studied with Bill T Jones/Arnie Zane Dance Company, David Dorfman Dance, Nancy Stark Smith, and Stephan Koplowitz. Kailey is currently a scholarship student with Jennifer Muller/The Works and dances for Sydnie L Mosley Dances. Her work has been commissioned by Nacre Dance Company and Ballet Forte. Most recently, she premiered her new work BS as a part of Triskelion Arts Split Bill. Kailey allocates her free time to absorbing as much sports knowledge as possible.

Dancer bios:

Maggie Beutner is from Denton, Texas and graduated with a BFA in Dance from University of North Texas. While in school, she performed in works by KihYoung Choi, Amiti Perry, Ana Sokolow, and has taught and choreographed extensively across Texas. Since moving to New York, she has danced with Awakening Movement, Kailey McCrudden, and is a company member with The Moving Architects. She currently resides in Brooklyn and spends her Sundays seeking out a good donut.


Sarah McWilliams lives and works in Philadelphia, PA as a dancer and dance instructor. From September 2015 through January 2016 Sarah trained in Israel with the Kibbutz Contemporary Dance Company as a member of the International Dance Journey Program. While in Israel, Sarah had the privilege of performing in works by Rami Be’er, Martin Harriague, and Mats Ek (restaged by Yamit Kalef). Prior to studying in Israel Sarah received her BFA in Dance from Temple University. Currently, Sarah dances for choreographers Kailey McCrudden in New York City and Belle Alvarez in Philadelphia. Alongside being able to dance every day, the keys to happiness in Sarah’s life come from eating endless amounts of Reese’s Cups and watching Dirty Dancing on repeat!

Stephanie Grover is a freelance dance artist based in Brooklyn, NY. A proud native of Woburn, MA, she graduated Magna Cum Laude and Phi Beta Kappa from Hofstra University with a BA in Dance and two B.S. minors in Exercise Science and Forensic Science. At Hofstra under the direction of Rachel List, Grover performed in works by guest artists David Parker, Doug Varone, Sean Curran, Terry Creach, Fritzlyn Hector, Jody Sperling, and Cathy Young. In July of 2013, Stephanie was blessed to perform a solo in the Florence Dance Festival through the Toscana Dance HUB program choreographed by program director Giada Ferrone, as well as in group works by Jennifer Chin, Arianna Benedetti, and Piero Leccese. Since graduation, Grover has performed with the New York Baroque Dance Company in an Opera Lafayette Rameau production at the Kennedy Center in Washington, DC and the Rose Theater at Jazz! at Lincoln Center. She works as a guest artist with David Parker and the Bang Group, performing at the Institute for Contemporary Art and the Dance Complex in Boston, as well as the 92nd St. Y, The Yard at Martha’s Vineyard, and Rutgers University/Mason Gross School of the Arts. She also actively performs as one of the founding company members of KaKe Dance, Neshamah Dance, and Vector Dance Co./Martha Lavery and has also been seen as a guest artist in works by Kailey McCrudden, Hysterika Jazz Dance, Anna Hillengas-Troester, appearing in various festivals at venues including Dixon Place, Triskelion Arts, the Center for Performance Research, Peridance Capezio Center, Greenspace, BAX, and Gowanus Arts, among others.. In addition, Stephanie currently works both as a dancer and as an administrative assistant for Robin Becker Dance, most recently traveling with the company to Vietnam with their evening-length work, Into Sunlight. You can find Grover either busting out random inversions or drinking lots and lots of Dunkin Donuts coffee–all day, every day.

Why is it helpful to present a work in progress?

So often bogged down in the midst of the choreographic process it becomes difficult to see your work with a fresh set of eyes the way an audience member would. Showing work in progress is a platform to get that feedback in order to further develop your work, craft and experience.

Who are the most rewarding dancers for you to work with and why?

The most rewarding dancers to work with are those who truly know who they truly are and will bring that maturity to the process and into my work; dancers who have willingness to experiment and never be satisfied. A dancer who can embody my ideas and movement without trying to simply mimic me, brings a greater sense of authenticity and humanity to the work.

Why is it important to present this piece of choreography to audiences in NYC?

In addition to expanding my audience and connecting with people interested in my work and process, this piece is relevant to where our society is currently situated.

What should HATCH audiences look forward to in your work?

Audiences should look forward to recognizing and thinking critically. If just for a moment, questioning the embodiment of the human experience at large.


Meet Kacie Devaney

Kacie Devaney will perform her solo titled Divided on April 16th at HATCH.  Read more about Kacie  below…


Choreographer bio

Kacie Devaney is a playwright, dancer, choreographer, actor, and song writer originally from San Francisco California. Before moving to New York, Ms. Devaney lived in Paris, France, where she completed a degree in Comparative Literature. In Paris, Kacie performed her new piece entitled Changing Tables that includes her original folk songs and choreography. Since her arrival in NYC two years ago, Kacie’s works have been accepted into and fully staged in; The Down Town Urban Theater Festival, The Thespis Theater Festival, The Festival for Women Playwrights, The Fringe Festival, and most recently The Strawberry Festival where her short entitled The Unknowns will go up in July. Kacie was invited to participate in the first ever, Elisa Monte Dancer’s Symposium as an emerging choreographer where she performed her cutting­edge dance, Acoustic love. Acoustic Love is a moving soliloquy framed in Ms. Devaney’s original folk song and dance. On April 4th Kacie had an industry reading of her play The Great Forgotten that had a sold out run in the NYC Fringe Festival. The Great forgotten, directed by Stephen Singer, is a compelling story with original Charleston dancing choreographed by Francis Patrelle. Kacie starred in her piece alongside Julie Voshell. In a review, both Kacie and Julie were applauded for their dancing. The Great Forgotten will go up in a larger venue this year. Details can be found at our Facebook page at, Kacie is thrilled to share her choreographic work in progress entitled Divided with all of you at, The Hatch Presenting Series.

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Why is it helpful to present a work in progress?

It’s always helpful to present a work in progress as you gain valuable feedback from others about what can improve and what works. The details and nuances of your piece become more clear.

Who are the most rewarding dancers for you to work with and why?

Dancers and choreographers who believe in the art of storytelling. Dancer’s who might be technically sound but are equally versed in sharing their vulnerability with others. Dancers and choreographers who want to share and explore the human experience.

Why is it important to present this piece of choreography to audiences in NYC?

New York is a performing mecca rich with talent from all over the world. Many great artists had their start in New York City.

What should HATCH audiences look forward to in your work?

Movement that tells a story, that makes you feel something rather than simply watching a performance outside of yourself. Choreography that speaks to the human heart.



Meet Brianna Anderson

Brianna Anderson will perform her duet titled Shamanistic on April 16th at HATCH.  Read more about Brianna below…



Choreographer Bio:

Brianna Anderson

A native of Oklahoma City, OK, Brianna began her formal training with Danni Kelly and Nancy Trait­Lira at Classen School of Advanced Studies. She received her Bachelor of FineArts Degree in Dance from the University of Oklahoma in 2011, and has since performed with Dayton Contemporary Dance Company II, Cleo Parker Robinson Dance Ensemble, Awaken Dance Theater, and MAK Dance Company. Brianna has performed works by Alvin Ailey, Martha Graham, Darrell Grand Moultrie, Roger C. Jeffrey, Milton Myers, Kun-Yang Lin, and Derrick Minter. In addition, she has worked as an instructor and counselor through programs such as the International Summer Dance Institute Children’s Week withthe Cleo Parker Robinson Dance Ensemble, Dance Across Cultures in Denver, CO, and the Oklahoma Summer Arts Institute. Most recently, Brianna has served as rehearsalassistant to Andre Tyson, former principal dancer with the Alvin Ailey American Dance Theater.

Dancers’ Bios:

Hikari Miller

Hikari started her training in NYC at the Martha Graham School and the Ailey School at 13 years old. Sophomore year of high school, she moved to Carlisle, PA to attend Central PA Youth Ballet for 3 years. After graduating, she moved to Philadelphia and worked with choreographer Lin Batsheva Kahn. She was then awarded an artist grant to attend University of The Arts BFA in Dance Program in Philadelphia. Sophomore year, Ms. Miller was the first dancer from her school to attend the Dance Jerusalem study abroad in Israel. Following her return, she danced with Philadanco in the 2014 year while attending school. Hikari graduated a semester early in the fall of 2015 while maintaining the dean’s list all throughout the undergraduate program. She is excited to be dancing back in NYC and collaborating with choreographer Brianna Anderson. She has also been recently featured in the MisterWives music video.

Madeline Charles

Madeline Charles is from Bethesda, Maryland, and graduated from Principia College in Illinois with a degree in English literature and sociology. She trained and choreographed original pieces at Principia under the direction of Karin Averty, Meg Eginton, Hilary Harper­Wilcoxen, John Gardner, and Amanda McKerrow. She was also a member of the Slaughter Project at Washington University, directed by Cecil Slaughter. Charles has attended the Paul Taylor and David Parsons summer intensives. Currently, she works as a direct support professional at a day program for adults with developmental disabilities.


Why is it helpful to present a work in progress?

It is important to present a work in progress because it allows the choreographer to hear the perspective of an unbiased audience. As a choreographer developing a new idea listening to the feedback of others is helpful in determining whether or not that idea is being communicated to the audience clearly and effectively.

Who are the most rewarding dancers to work with and why?

I look for dancers who are confident and comfortable with their own individual artistry, and who are open to my creative process as well. Creating a new work can have many unexpected twists and turns, so I enjoy working with dancers who have faith in the choreographic vision I am trying to convey.

Why is it important to present this piece to audiences in NYC?

I want to present the beautiful harmony between music and dance, and how music can influence and inspire the creation of movement. By showing the strength and beauty of the two art forms together, I believe they can enhance and uplift each other.

What should HATCH audience members look forward to in your work?

I hope that HATCH audiences see the musicality I am trying to emphasize within my movement in relationship to the music; and that they walk away with a different perspective of the connection between music and dance.

Meet Kristy Knickerbocker

Kristy Knickerbocker will perform her duet titled Lucky Charms April 16th at HATCH.  Read more about Kristy below…

Inspiration for Lucky Charms:

Lucky/Charms began with a few notes jotted down on my iPhone as I rode the L train home from work. Observing a late train of sleepy New Yorkers,jostling around, adjusting, sleeping, scratching, everything was subtle, yet everyone was moving. One gentleman stood in the center eating out of a box of you guessed it, Lucky Charms, throwing back the cereal eating the mallows. Its peculiar to observe the things we think no one is watching. From there, train notes progressed into an idea and physical movement.

Choreographer bio:

Kristy is Brooklyn based choreographer and dancer. Kristy graduated from The College at Brockport with a BFA in choreography and dance in 2015 and from Valencia College in 2013 with an AA in dance. Knickerbocker premiered her first work in Rochester, New York in 2015 with Chromatic Alliance, a collaborativedance concert. Since then she has moved to Brooklyn where her work has been presented in WAXworks at Triskelion Arts. She has taught master classes at SUNYBrockport as an alumni and is teaching dance in Brooklyn. She has performed with Check it Dance Festival and with the Brockport Alumni Showcase at Dixion Place inthe summer of 2015. She is currently interning with of bones || hollye bynum through Pentacle’s Cultivating Leadership in Dance program. Check out her choreographyat

Kara Dudley:

Kara Dudley is a Brooklyn based dancer, actor, choreographer, and writer. She studied at SUNY Brockport with a degree in both theatre and dance.She has recently shown her choreography at Movement Research Open Performance and Check It Dance Festival, in addition to performing with KnickerbockerDance in the WAXworks Dance Festival. Her favorite acting credits include A Christmas Carol and All Your Questions Answeres (Geva Theatre), Eurydice(Outerloop Theatre), Road Veins (TADA), Throws of Love (Samuel French Festival Winner), and All is Fine in Sunny Florida (Manhattan Rep. Theatre). You cancheck her work out at

Chelsea Spraker:

Chelsea Spraker, a native of upstate New York, is a performer and arts administrator based in Brooklyn. Since graduating with a BFA in Dance from TheCollege at Brockport, she has been grateful to work with a variety of choreographers such as Mariah Maloney, James Hansen, and Bill Evans to name a few. Chelsea isalways thrilled to be performing and is excited to be here with Knickerbocker Dance!

We asked each choreographer to answer a few questions to get a better understanding of why their selected piece was important to show. Please find questions and answers below.

Why is it helpful to present a work in progress?

Who are the most rewarding dancers for you to work with and why?

Why is it important to present this piece of choreography to audiences in NYC?

What should HATCH audiences look forward to in your work?


Its incredibly helpful to present a work in progress because it gives the choreographer so much insight into the piece through others eyes. As we make work and go through the process of creation a dance can evolve so much that feed back is essential to growth. I personally enjoy feed back because it gives allows me to ask questions about my work that I wouldn’t think to ask.

The most rewarding dancers to me are the dancers who are fully involved and committed to the process. Dancers that are willing to participate and be generous with their ideas, thoughts and desires within the work. I love being surrounded by positive energy and people that allows the rehearsal and experience to be full of joy and creativity.

This piece is important to present to NYC because it is just the beginning to a much longer journey. I am excited for my fellow New York artists to see the journey that this work will take over the course of several months, possibly longer. This is something I want to nurture and allow to become its own over time.

HATCH audiences can look forward to the small details of humanistic experiences within the piece. There is a play between pedestrian and dancer, the normal things we do without even thinking about and the cross into prescribed physical movement.