Kaitlyn Ebert ("Let Slip the Witches" and "Thighs and Wages") has been in almost every piece I have created. She has been with me from the start of Bellwether Dance Project, and I not only love her movement quality and her sheer focus and fierceness as a performer, but I trust her instincts implicitly.

Elena Martins ("Let Slip the Witches" and "Thighs and Wages") is one of those dancers who can seemingly do everything! This is our first time working together but I feel like it has been much longer. As a dancer she is unfailingly quick, consistent and reliable at her core — covered in a flair and attack that almost surprises.

Juliann Witt ("Let Slip the Witches" and "Thighs and Wages") is another dancer who can do it ALL. She is up for any task, dramatic or technical, and retains everything. I love watching her different approaches to the movement in both pieces — she is so very versatile and exciting to watch.

Karla Quintero ("Let Slip the Witches") is a dancer I have long been drawn to as a performer but we had never worked together until I asked her to jump into Let Slip the Witches to fill in for another dancer, who had created the role but had to pull out of the show. Karla has met the thankless task of learning someone else's role, quickly, with grace and fire. She has taken the role and made it her own, with stunning and organic results.

Caitlin Hicks ("Thighs and Wages") An absolutely gorgeous mover. She is thoughtful and inquisitive in rehearsal. She has a dramatic, focused quality that is extremely compelling to me. I can't wait to see her in the work on stage.

Kelsey Gerber ("Thighs and Wages") has a movement style that I love. It is different from mine, and I like that. I have admired her as a performer and look forward to seeing her bring the fire on stage. She makes it all look so easy, somehow.

Nol Simonse ("First Love, in 3 Parts") is a dance-idol of mine. I love his work and his movement quality. It is so very fun and humbling to make a work for him. He has had a lot of input on the process which has been invaluable to me. Honestly, it is just a joy to be on stage with him. He is an intuitive performer and gracious partner.

Tanya Bello ("First Love, in 3 Parts") is another dance-idol of mine. I have danced for her in her company, project B. And I have limitless respect for her as a maker. It is humbling to make work with her, but she is game for anything and offers brilliant suggestions. It is a joy to dance with and near her — she is a generous performer and her technique — come on! Goals.

All of the dancers really bring themselves to the work — I love to watch them dancing intensely technical choreography with their own special quirks intact. I am not interested in everyone looking exactly the same, but there are moments of unison and certain other structures that require some "sameness" — I think it takes a high level of competence and confidence to move with others as an organism but retain and show some of your choices about approach and flair. The dancers all do a beautiful job of riding this shifty middle ground. They are truly embodying the movement, and that is very exciting to me. In many cases they have been a big part of the creation of the movement language for the work, so I am relying on them as makers and well as fierce dancer-thinkers.