9–11pm / Oct 4 / Elebash Hall

For C.J.

Davalois Fearon

Azul Otra Vez (Blue, Revisited)

Melis Aker, Jacinta Clusellas, & Tatiana Pandiani

Crown! Poppea! (a proof of concept gesture)

Ashley Tata (feat. Ted Hearne + Eliza Bagg)

Dancing Girl

The Vanderburgs

Photo by Tony Turner, Watercolor by Azul Santamarina, Photo by Michael Barringer, Illustration by Elinor T Vanderburg
Works-in-Process are excerpts from new work, in development or recently premiered.


For C.J.

For C.J. is dedicated to Artistic Director Davalois Fearon’s nephew C.J., who was the victim of a fatal asthma attack in 2017. Fearon explores themes of loss and remembrance, and the entanglement of medicine, the environment, race, and class that resulted in his death, and the disproportionate deaths of urban youth of color to asthma.

For C.J. collaborators include acclaimed multi-genre composer/instrumentalist Mike McGinnis, renowned interdisciplinary artists Jasmine Murrell, and emerging visual artist Myssi Robinson.

ASL translation by Maria Cardoza

Davalois Fearon Dance (DFD) is a dance company founded by one of Dance Magazine’s seven “Up-and-Coming Black Artists to Have on Your Radar” and Bessie award-winning Artistic Director Davalois Fearon. DFD’s mission is to collaboratively create, perform, and teach a versatile body of work that draws from Fearon’s desire to confront difficult issues and prompt contemplation while pushing both artistic and social boundaries. The company has received support from institutions, such as the Map Fund, BRIC Arts, and Bronx Council on the Arts, and has been presented nationally and internationally, including the New Victory Theater on Broadway, Joyce Theater, and the Metropolitan Museum of Art.

Upcoming: BRIClab: March 5 and 6


Insta: @davaloisfearondance

Azul Otra Vez (Blue, Revisited)

Inspired by Rubén Darío’s poetry and stories, Azul Otra Vez (Blue, Revisited) is a bilingual musical about the financial struggles of the artist, fatherhood, generational trauma, and forgiveness. Within a framework rooted in Latin American culture, the story explores how memory, nostalgia, and imagination reshape and archive familial and immigrant identity. A hybrid between magic realism, heightened comedy, and realism, it is a spectacle in the legacy of the American book musical, and a deep-dive into the immigrant father-daughter relationship.

Melis Aker: co-creator, book writer
Jacinta Clusellas: co-creator, composer
Tatiana Pandiani: co-creator, director, book writer

Melis Aker is a Turkish writer/actor/musician. Her work has been commissioned by and/or developed at Atlantic Theater Company, NYTW, Revelations Entertainment, Ars Nova, New Group, La MaMa, Lark, Cannes Film Festival, IFP, BRIC, Finborough, and Park Theatre. Representation: CAA.

Jacinta Clusellas is an Argentine composer/guitarist/arranger. Her music fuses South American folklore, jazz, and chamber music. Her debut album, El Pájaro Azul, was published by Inpartmaint Inc., and her second album will be produced by West One Music.

Tatiana Pandiani is an Argentine director/choreographer. She was the associate director for What the Constitution Means to Me on Broadway, a NYTW 2050 Fellow, and National Directors Fellowship recipient from the O’Neill and Kennedy Center. Representation: Paradigm.


Insta: @melvishmelvin, @pajaroazuljacinta, @tatianapandianii

Crown! Poppea! (a proof of concept gesture)

A music-video-electronic-sample-remix-opera (after Monteverdi).

SETTING — RomeVeniceNYC, 1st17th20th centuries.

Overhead Shot — Satin sheets. Feet flex. Tulle billows. Ecstasy.

Always dark is the season…

Climax — a duet of falsettos.

Medium Wide ShotLimbs glisten. Candles exhaust.

Did I please you, my lord?

NERO’s laurels glint.

…When love of power contests the claims of reason.

JUMP CUT — Future. Cities burn. Rulers fiddle. Baroque eras end. Video kills the opera diva.


Ashley Tata directs multimedia works of theatre, opera, and immersive experiences that sit at the intersection of music, installation and performance. They have been seen in venues including LA Opera, Austin Opera, The Miller Theater, National Sawdust, The Kitchen, Crossing the Line Festival, Holland Festival, and Bard’s Fisher Center. Her production of David T. Little’s Soldier Songs was called an “extraordinarily powerful production” by The Los Angeles Times, and her production of Kate Soper’s Ipsa Dixit was named one of the top “ten notable performances of 2017” by Alex Ross of The New Yorker.

Upcoming: The premiere of a multimedia music work The Art of Change by composer Jean-Baptiste Barrière and an open source libretto prompted by Chiara Bottici at The New School/Mannes School of Music in January, 2020. And Soldier Songs by David T. Little and video by Bill Morrison co-produced by Beth Morrison Projects at Chicago Opera Theater in May 2020.


Insta: @aktata

Dancing Girl

When the Parisian police inflict tragedy on her community of Outcasts, Esmeralda—a resilient and fierce-hearted immigrant—vows to emancipate her people from a prejudiced system. But unlikely alliances, and impossible attractions, blur the boundaries between the oppressed and their oppressors, and Esmeralda soon finds herself at the heart of a passion-driven conspiracy. Expressively told through dance, spoken language, and sign language, Dancing Girl re-presents the themes from Victor Hugo’s Notre-Dame de Paris, revitalizing the beloved tragedy for a new era.

Elinor T and Drew Vanderburg (co-playwrights) collaboratively devise and produce theatre which seeks to confront urgent social issues and create a more just society. They are the creators of a science-fiction musical on reproductive ethics called The Human Incubator. With a bilingual team led by Jenny Beth Snyder (director) and Anne Tomasetti (director of American Sign Language), Dancing Girl premiered in the She NYC Summer Theater Festival at The Connelly Theater in June 2019.

Upcoming: BLOODSHOT at The Exponential Festival (Winter 2020)


Insta: @DancingGirlPlay

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