TBDC Program


in Association with
Untermyer Gardens Conservancy


September 16, 2017
3:00 pm and 5:30 pm
Untermyer Gardens

Founding Artistic Director and Choreographer
Trisha Brown

Associate Artistic Directors
Carolyn Lucas, Diane Madden

Oluwadamilare Ayorinde, Cecily Campbell, Leah Ives, Amanda Kmett’Pendry, Jacob Storer

Guest Dancer
Jamie Scott

Executive Director
Barbara Dufty



(subject to change)

Leaning Duets II (1971)

Falling Duet (1968)

Newark (Niweweorce) (1987)

Accumulation (1971)
Music: Grateful Dead, Uncle John’s Band

M.O (1998)
Music: Johann Sebastian Bach, Musical Offering

Group Primary Accumulation (1973)

Sticks II (1973)

Locus Solo (1975)

Trisha Brown: In Plain Site

Trisha Brown: In Plain Site, the Company’s new performance program, allows Brown’s dances to be freed from the constrictions of the conventional stage and to be once again performed in unexpected locations.  Trisha Brown: In Plain Site mines and then recombines material from her vast repertory to accommodate the unique spatial demands of the particular venue.  Drastically shortening the distance between the dance and its audience, Trisha Brown: In Plain Site engages the audience in a dramatically different way, illuminating Brown’s fifty years of investigation.

Trisha Brown Dance Company gratefully acknowledges the generous ongoing support by The Fan Fox and Leslie R. Samuels Foundation, The Gladys Krieble Delmas Foundation, The Harkness Foundation for Dance, the Nathan Cummings Foundation with the support and encouragement of Ruth Cummings, the New England Foundation for the Arts’ National Dance Project, The Princess Grace Foundation—USA, The Shubert Foundation, the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council.

TBDC also extends its sincere thanks to the Trisha Brown Company Board of Trustees and all of the Company’s Individual Donors.

The Trisha Brown Archive receives leadership support by The Andrew W. Mellon Foundation, the Booth Ferris Foundation, the Howard Gilman Foundation, with additional support by Bay Area Video Coalition, The Gladys Krieble Delmas Foundation, the National Film Preservation Foundation, and other generous donors.




Trisha Brown (Founding Artistic Director and Choreographer) was born and raised in Aberdeen, Washington. She graduated from Mills College in Oakland, California in 1958; studied with Anna Halprin; and taught at Reed College in Portland, Oregon before moving to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary in the everyday and challenged existing perceptions of performance. Brown, along with like-minded artists, pushed the limits of choreography and changed modern dance forever.

In 1970, Brown formed her company and explored the terrain of her adoptive SoHo making Man Walking Down the Side of a Building (1970), and Roof Piece (1971). Her first work for the proscenium stage, Glacial Decoy (1979), was also the first of many collaborations with Robert Rauschenberg. Opal Loop/Cloud Installation #72503 (1980), created with fog designer Fujiko Nakaya, was followed by Son of Gone Fishin’ (1981), which featured sets by Donald Judd. The now iconic Set and Reset (1983), with original music by Laurie Anderson and visual design by Robert Rauschenberg, completed Brown’s first fully developed cycle of work, Unstable Molecular Structure. This cycle epitomized the fluid yet unpredictably geometric style that remains a hallmark of her work. Brown then began her relentlessly athletic Valiant Series, best exemplified by the powerful Newark (1987) and Astral Convertible (1989) – pushing her dancers to their physical limits and exploring gender-specific movement. Next came the elegant and mysterious Back to Zero cycle in which Brown pulled back from external virtuosity to investigate unconscious movement. This cycle includes Foray Forêt (1990), and For M.G.: The Movie (1991). Brown collaborated for the final time with Rauschenberg to create If you couldn’t see me (1994), in which she danced entirely with her back to the audience.

Brown turned her attention to classical music and opera production, initiating what is known as her Music cycle. Choreographed to J.S. Bach’s monumental Musical Offering, M.O. (1995) was hailed as a “masterpiece” by Anna Kisselgoff of the New York Times. Brown continued to work with new collaborators, including visual artist Terry Winters and composer Dave Douglas, with whom she created El Trilogy (2000). She then worked with long-time friend and artist, Elizabeth Murray to create PRESENT TENSE (2003) set to music by John Cage.

Brown stepped into the world of opera to choreograph Carmen (1986) and again to direct Claudio Monteverdi’s L’Orfeo (1998). Since then, Brown has gone on to direct four more operas, including, Luci Mie Traditrici (2001), Winterreise (2002), and Da Gelo a Gelo (2006) and most recently, Pygmalion (2010).

Continuing to venture into new terrain, Brown created O zlożony/O composite (2004) for three étoiles of the Paris Opera Ballet, working with long-time collaborators Laurie Anderson and Jennifer Tipton. Forays into new technology created the witty and sophisticated I love my robots (2007), with Japanese artist and robotics designer Kenjiro Okazaki. Her work with Pygmalion produced two dance pieces L’Amour au théâtre (2009) and Les Yeux et l’âme (2011). Brown’s last work, I’m going to toss my arms- if you catch them they’re yours (2011), is a collaboration with visual artist Burt Barr, whose striking set is dominated by industrial fans. The original music is by Alvin Curran.

As well as being a prolific choreographer, Brown was an accomplished visual artist, as experienced in It’s a Draw (2002). Her drawings have been seen in exhibitions, galleries and museums throughout the world including the Venice Biennale, The Drawing Center in Philadelphia, The New Museum, White Cube, Documenta XII, Walker Art Center, Centre Georges Pompidou, Mills College, Musée d’art Contemporain de Lyon, and Museum of Modern Art. Brown was represented by Sikkema Jenkins & Co. in NYC.

Trisha Brown has created over 100 dance works since 1961, and was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.” She has been awarded many other honors including five fellowships from the National Endowment for the Arts, two John Simon Guggenheim Fellowships, Brandeis University’s Creative Arts Medal in Dance, and she has been named a Veuve Clicquot Grande Dame. In 1988, Brown was named Chevalier dans l’Ordre des Arts et Lettres by the government of France. In January 2000, she was promoted to Officier and in 2004, she was again elevated, this time to the level of Commandeur. She was a 1994 recipient of the Samuel H. Scripps American Dance Festival Award and, at the invitation of President Bill Clinton, served on the National Council on the Arts from 1994 to 1997. In 1999, Brown received the New York State Governor’s Arts Award and, in 2003, was honored with the National Medal of Arts. She had the prestigious honor to serve as a Rolex Arts Initiative Mentor for 2010-11 as well as receiving the S.L.A.M. Action Maverick Award presented by Elizabeth Streb, and the Capezio Ballet Makers Dance Foundation Award in 2010. She has received numerous honorary doctorates, is an Honorary Member of the American Academy of Arts and Letters, and was awarded the 2011 New York Dance and Performance ‘Bessie’ Lifetime Achievement Award. In 2011, Brown was honored with the prestigious Dorothy and Lillian Gish Prize for making an “outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.” In 2012, Brown became a United States Artists Simon Fellow and received the first Robert Rauschenberg Award from the Foundation of Contemporary Arts. In recent years, she was honored with the BOMB Magazine Award.

Carolyn Lucas (Associate Artistic Director) attended North Carolina School of the Arts and graduated with a BFA in dance from SUNY Purchase before joining Trisha Brown Dance Company in 1984.  Lucas originated roles in some of Brown’s most acclaimed works including Lateral Pass (1983), Carmen (1986), Newark (Niweweorce) (1987), Astral Convertible (1989), Foray Forêt (1990) and Astral Converted (1991).  Lucas’ dancing has been described in the New York Times as “affecting in her softly penetrating attack” and “especially luminous.” In 1993, Brown appointed Lucas as her Choreographic Assistant, a position Lucas held for twenty years before being named Associate Artistic Director in 2013.  As Choreographic Assistant, Lucas played an integral role in Brown’s creation process in dance and opera, working closely alongside Brown for pieces including If you couldn’t see me (1994), its revision to the duet You can see us (1995) with Bill T. Jones and later Mikhail Baryshnikov, Monteverdi’s Orfeo (1998), and its revival in 2002, El Trilogy (2000), Luci Mie Traditrici (2001), It’s a Draw (2002), Winterreise (2002) with Simon Keenlyside, PRESENT TENSE (2003), O Zlozony/O Composite (2004) with étoiles from the Paris Opera Ballet, Da Gelo a Gelo (2006) with Salvatore Sciarrino and La Monnaie, Rameau’s Pygmalion (2010) with William Christie and Les Arts Florissants, Festival d’Aix, Holland Festival and Athens Festival, and Brown’s final work for the Company, I’m going to toss my arms- if you catch them they’re yours (2011) which premiered at Théâtre National de Chaillot in Paris. In addition to assisting with new choreography, directing Company rehearsals and restaging existing choreography on the current dancers, Lucas has led projects for companies and institutions around the world, including The New School in NYC, P.A.R.T.S. in Brussels and Paris Opera Ballet.  She was one of the first instructors Brown sent to P.A.R.T.S. to construct a Set and Reset/Reset, whose collaborative, interdisciplinary learning process is now a cornerstone of the Company’s education program.  Lucas is currently sharing her firsthand knowledge of three decades of dancing, teaching and documenting Brown’s work for the Trisha Brown Archive. She studies Tai Chi with Maggie Newman and Alexander Technique with June Ekman.

Diane Madden (Associate Artistic Director) attended Hampshire College in Massachusetts before joining the Trisha Brown Dance Company in 1980.  Since then, Madden has danced, directed, taught, studied and reconstructed Brown’s work for nearly 35 years.  A much lauded performer, Madden has been described in the New York Times as “one of those dancers who can make magic out of almost any task.” She has originated roles in works including Son of Gone Fishin’ (1981), Brown’s masterwork Set and Reset (1983), for which she was recently honored, along with the full original cast, by Movement Research in 2012, Lateral Pass (1985), Carmen (1986), Newark (Niweweorce) (1987), Astral Convertible (1989) for which she was awarded a New York Dance and Performance “Bessie” Award, Foray Forêt (1990), Astral Converted (1991), the “running solo” in For M.G.: The Movie (1991), Another Story as in falling (1993), Yet Another Story as in falling (1994), M.O. (1995) set to Bach’s Musical Offering, Twelve Ton Rose (1996), Accumulation with Talking Plus Repertory (1997), Monteverdi’s Orfeo (1998) and the Interlude solos Rage and Ladder in El Trilogy (2000).  Madden has served as Brown’s personal assistant and was the rehearsal director from 1984-2000.  She continued to teach and direct special projects for the Company before serving again as Rehearsal Director from 2010 until 2013, when she was named Associate Artistic Director.  Through the talents of dancers both within the company and from internationally known schools and companies, Madden enjoys keeping Brown’s rich range of choreography alive on stages and alternative sites worldwide.  Madden has developed an approach to teaching that weaves anatomically grounded technique with improvisation, composition and performance skills. In addition to her own performance work in collaborative improvisational forms, she is greatly influenced by her study and practice of Aikido with Fuminori Onuma.  Madden is honored to be the recipient of two Princess Grace Awards, the first in 1986 and the second for sustained achievement in 1994.

Oluwadamilare Ayorinde (Dancer) received his BFA in dance from Mason Gross School of Arts at Rutgers University. Since graduating he has worked with Colleen Thomas, Bill Young and Kyle Marshall. Currently, he apprentices for Netta Yerushalmy. He is beyond excited to begin apprenticing for the Trisha Brown Dance Company.

Cecily Campbell (Dancer) is from Santa Fe, New Mexico and holds a BFA in dance from New York University Tisch School of the Arts.  She was a company member of Shen Wei Dance Arts from 2008 to 2013 and began working with the Trisha Brown Dance Company in 2012.

Leah Ives (Dancer) holds a BFA in Dance and minor in Movement Science from the University of Michigan. Leah has since collaborated and performed with The A.O. Movement Collective/Sarah A.O. Rosner, Avodah Dance Ensemble, Elizabeth Dishman, Median Dance/Alex Springer and Xan Burley, the Leopold Group, and the Peter Sparling Dance Company. In addition to dancing, Leah is also a NY State Licensed Massage Therapist.

Amanda Kmett’Pendry (Dancer) hailing from Southern Maryland, is a dancer/aspiring SNL cast member living in New York City. Currently, she dances with the Trisha Brown Dance Company, Julie Mayo, Nico Brown and Netta Yerushalmy. Since receiving a BFA from The University of the Arts, in Philadelphia, she has had the pleasure of working with artists Jonathan Allen, Wally Cardona & Jennifer Lacey, Jodi Melnick, Sam Kim, Katie Swords, Teddy Tedholm, Romeo Castellucci, Meg Weeks and Adrienne Westwood.

Jamie Scott (Dancer) began her professional training at the Washington School of Ballet. She attended Barnard College and graduated Cum laude in 2005. Jamie worked with Merce Cunningham as a member of the Repertory Understudy Group beginning in 2007 and joined the Merce Cunningham Dance Company in 2009. In 2012 Jamie began dancing with the Trisha Brown Dance Company. She has also worked with Daniel Gwirtzman Dance Company, Ana Isabel Keilson, the Merce Cunningham Trust and Silas Reiner. Jamie teaches technique and master classes for both the Trisha Brown Dance Company and Merce Cunningham Trust. She is Merce Cunningham Fellow 2014 and a Princess Grace Awards winner, (2014-2015).

Jacob Storer (Dancer) attended the University of Wisconsin-Stevens Point and graduated from PARTS in Brussels, Belgium where he worked with various artists across many disciplines as part of the 3-year training. He collaborates with Libby Farr in a continuous research project investigating a more Somatic-based approach to Ballet and is also developing his own work under the name ‘Amphigory’, in collaboration with Theo Livesey. Their first piece, ‘This page intentionally left blank’, has been performed in Belgium, NEU NOW Festival in Amsterdam and will be performed during Art Basel in June 2017. Jacob joined Trisha Brown Dance Company in 2017.

Trisha Brown Dance Company,
341 W. 38th Street, Suite 801
New York, NY 1001

Board of Trustees:
Dorothy Lichtenstein (Chair), Jeanne Linnes (Vice President), David Blasband (Secretary), Michael Hecht (Treasurer), Trisha Brown, Ruth Cummings, Barbara Gladstone, Lawrence P. Hughes, Fredericka Hunter, Anne Livet, Stanford Makishi, Joan Wicks, and Robert Rauschenberg, 1925-2008 (Chairman Emeritus)

Trisha Brown, Founding Artistic Director and Choreographer
Barbara Dufty, Executive Director
Carolyn Lucas, Associate Artistic Director
Diane Madden, Associate Artistic Director
Anne Dechêne, Company Manager
Jeanne Newman, Development Director
Adriane Medina, Finance Manager
Lee Serle, Education Director
Hala Shah, Marketing Coordinator
Betsy Ayer, Stage Manager/Production Manager for IPS
Cori Olinghouse, Archive Director
David Thomson, Archive Technical Consultant
Ben Houtman, Project Archivist
Susan Rosenberg, Consulting Historical Scholar
Jennifer Lerner, Public Relations
Thérèse Barbanel, Les Artscéniques, International Representation
Colette de Turville, International Representation
Laura Colby, Director of Elsie Management: Exclusive Representor in North America
Jenna Moomaw, Intern