RAW EDGES XXVI

April 26-28, 2024

Mary d’Angelo Performing Arts Center

Mercyhurst University

School of the Arts

Jodi Staniunas-Hopper, Dean

Department of Dance

C. Noelle Partusch, chair and executive producer

Jennifer McNamara, Mark Santillano, & Solveig Santillano, co-directors

Andrew Ferguson, technical director

Bob Steineck, lighting designer

In observance of federal copyright laws, the taking of photographs and/or recording of any kind is strictly prohibited

Program is subject to change

Latecomers will be seated only during intervals.

Please turn off all cell phones, watches, and pagers during the performance

Program

Afriday, april 26 at 7 pm + saturday, april 27 at 2 pm

Optic Innovations

Choreographer | Caitlin Settle

Music | Violin Concerto in D Major, RV 211: II Larghetto and III Allegro, by Antonio Vivaldi, performed by Andrea Marcon, Giuliano Carmignola & Venice Baroque Orchestra

Dancers | Emma Berkheiser, Shyla Clifford, Gabrielle Harris, Montana Pastore, Emily Rini, Olivia Turner-Leftwich, Kenzie Krommes (US)

“I awaken today, appreciating everything in sight, and give thanks.” (Louise L. Hay)

With five billion people at risk of myopia by 2050, now is the time to act and preserve the gift of vision for posterity With collaborative innovations, interventions, and play we can tackle the world’s leading cause of vision impairment and prevent the damaging effects of myopia on society as we know it

Caitlin Settle

is a dancer and dance educator from Kitsap County, WA. She is currently finishing her B.A. in dance and minor in biology at Mercyhurst University in Erie, PA. She dances ballet, modern, jazz, and contemporary styles. She has performed classical and contemporary works ranging from full length ballets to senior choreography capstone projects. She also participated in American College Dance Association conferences and performed in Downtown Pittsburgh as part of Project Dance 2021. Additionally, Caitlin teaches ballet and pointe classes and loves to share dance with the next generation.

Elegiac Sonnets

Choreographer | Morgan Masters

Music | “Adoramus te, Christe, LV 1083” by Orlande de Lassus | “Fairytail” by Phoria | “Metamorphosis” by David Arnold and Paul Hart | “Victims” by David Arnold and Paul Hart

Dancers | Ainsley Dunning, Mara Isaacson, Katherine Kilbourn, Kenzie Krommes, Abigail Lipa, Erin McKenna, Jillian Pohl, Nadia Stronkowsky, Megan Wade, Nicole Hirsch

“Ye vales and woods! fair scenes of happier hours! / Ye feather'd people, tenants of the grove! / And you, bright stream! befringed with shrubs and flowers, / Behold my grief, ye witnesses of love!”

“Sonnet XVI From Petrarch” by Charlotte Smith

Morgan Masters

From Greenville, Michigan, Morgan attended Interlochen Arts Academy, where she graduated with a major in Dance in 2020. She is currently completing her B A in Dance at Mercyhurst University. While at Mercyhurst she has enjoyed choreographing as well as performing in other student choreographers' works.

M Moire

Choreographer | Grace Mullins

Music | “Violin Sonata in C Major” by Wolfgang Amadeus Mozart, performed by Takako Nishizaki & Jenő Jandó | “Nuvole Bianche” by Ludovico Einaudi, performed by ThatCelloGuy

Dancers | Joanna Clifford, Shyla Clifford, Jakquelyn Gauker, Isabella Johnson, Mia Semieraro, Alyson Szewczyk, Nicole Walters

“Music plays a profound role in the definitive stages of most people’s lives

Reminiscent of the sounds and smells that flavored our youth, music intonations organize our personal memories into temporal time sequence “

(Kilroy J. Oldster, from Dead Toad Scrolls)

Intermission

Grace Mullins

of Indianapolis, Indiana, is currently a student at Mercyhurst University where she will be graduating with a BA in dance and minor in marketing in the spring of 2024. She has previously danced with Boston Ballet II and trained with Miami City Ballet School and Indiana University’s Pre-College Ballet Program. Some of her favorite performance opportunities include Justin Hogan’s The Nutcracker, George Balanchine’s Walpurgisnacht, and Sidra Bell’s Savage Birds.

Merde

Choreographer | Joanna Clifford

Music | “Basketball“ by Barrie

“Sister, I“ by Jesse Marchant

Dancers | Sophia Du Jat, Gabrielle Harris, Emily Rini, Moira Sullivan, Nicole Walters

“Man is not worried by real problems so much as by his imagined anxieties about real problems” (Epictetus)

Joanna C;lifford

spent her childhood in West Palm Beach, Florida, where she was introduced to music in her early years. At the age of 14, her devotion to dance ignited with training at multiple schools including School of Ballet Arts, Palm Beach Atlantic Dance Preparatory, and The King’s Academy Dance Conservatory. She has flourished in her years of training at Mercyhurst University earning her B.F.A in Dance and minor in Religion and Society. As her season at Mercyhurst closes, she is excited to uncover where her passion will lead her in the professional dance world

Lines And Drafts

Choreographer | Madeleine Plourde

Music | “Gymnopédie No. 1: lent et douloureux (D major)” by Erik Satie, performed by Linda Peters | “Conción del Fuego Fatuo” by Manuel de Falla, performed by Jonathan Nolan | “Ionisation” by Edgard Varèse, performed by Amadinda Percussion Group | and the voices of the dancers

Dancers | Elodie DeVos, Abigail Lipa, Montana Pastore, Mia Semieraro, Olivia Showers, Nadia Stronkowsky

We like to evaluate the world in terms of good or bad. Right or wrong. Failure or success. But in trying to succeed, we often forget the steps that get us there. Spanish artist, Pablo Picasso, is considered one of the most successful artists of all time but not because he was perfect. He had his flaws, but he never stopped trying. True success consists in steps of learning, trying and sometimes failing, steps that are often more valuable than the end result

“Lines and Drafts” is a ballet-inspired, contemporary dance work that looks at the idea of perfection. Through the movements, lighting and voices of the dancers, the audience is led through three of Picasso’s famous stages of painting as the music pays homage to his contemporaries and inspirations Each section holds in its own place in Picasso’s story while building on the last, just as every draft of our lives leads us to what we call the end result. As the lights fade, the audience will be left not only with a picture but a story, a story made of steps.

Madeleine Plourde

is graduating this year with a BFA in Dance and a BA in Integrated Media and Strategic Communications. She is passionate about using dance and the arts to connect with others. Originally from Vermont, she has trained primarily in ballet, pointe and modern dance though she has taken classes and workshops in a wide variety of styles. While at Mercyhurst, Madeleine has studied pedagogy and dance history and has been a part of the Liturgical Dance Ensemble She has performed internationally and worked with artists such as Sidra Bell.

The Myth Of The Indigenous Woman

Choreographer | Olivia Turner-Leftwich

Music | “Panorama” by Big Dog Little Dog | “Farewell to Ireland/Foxhunter’s Reel” by The Celtic Fiddle Festival | “Phantasy Quintet: Prelude” by Ralph Vaughan Williams, performed by Garfield Jackson and the Maggini Quartet

Voices of Culture | Kenzie Krommes, Jillian Pohl, Madeleine Sipos, Megan Wade

Original Woman | Grace Mullins

Interpreter | Elena Bobby

Interpretation | Anna Menarcheck

Every time a story is told and heard a new version is born in the mind of the listener This piece is about the echoes of interpretations of powerful indigenous women inspired by the historiography of Lady Boudica, La Malinche, and Queen Maeve. What is the responsibility of the interpreter against the inevitability of myth? And, what is the value of truth when myth is more enticing?

Olivia Turner-Leftwich

is originally from Nashville, TN where she began her dance training at Centennial Youth Ballet with her sister Katelyn. At Mercyhurst University, Olivia is pursuing her BFA in Dance, BA in History, and is involved in the Honors Program. She finds storytelling particularly inspirational and will jump at the chance to tell stories (both real and mythical) with her own dance, choreography, or historical research.

program B

saturday, april 27 at 7 pm + sunday, april 28 at 2 pm

Strength In Unity

Choreographer | Alyson Szewczyk

Music | “Brotsjór” composed and performed by Ólafur Arnalds | “The Time to Run” composed and performed by Dexter Britain | “Imagine” (Piano and Violin Version) composed by John Lennon and Performed by VioDance

Dancers | Natalie Cecil, Elodie Devos, Nadine Fox, Jakquelyn Gauker, Isabella Johnson, Emily Rini, Sophie Satoh, Olivia Showers, Megan Wade

This piece explores the immediate aftermath of the September 11th attacks and the effects that it had on the people of our nation The contrasting states of the human body’s nervous system going from chaos to calm are portrayed In the immediate aftermath the sympathetic nervous system was activated due to a stress response causing people to act in disarray. Even though the horrific things about that day will never be forgotten, many will agree that our nation became more unified than ever before. A sense of unity eventually allowed the opposing parasympathetic nervous system to be activated and people to come together In this unity there is strength!

Alyson Szewczyk

Alyson Szewczyk, is a native of Erie PA, Melbourne FL, and Pittsburgh PA. She is working to obtain a BA in Dance and a BS in Biology with a Neuroscience concentration at Mercyhurst University. While at Mercyhurst Alyson has had the opportunity to perform in The Nutcracker, A Midsummer Night’s Dream, Swan Lake, and original works created by students and faculty Alyson has enjoyed the opportunity to grow as a dancer, expand her performance repertoire, and create her biggest choreographic work yet.

A Moment In Rhapsody

Choreographer | Katherine Kilbourn

Music | “3 Preludes No 2 in C-Sharp Minor” by George Gershwin, played by Richard DiFiore | “Rhapsody in Blue” by Ekseption | “The Man I Love” by George Gershwin, played by Richard DiFiore

Skirts | courtesy of SoMar Dance Works

Dancers | Drew Bauerle, Nicole Hirsch, Morgan Masters, Montana Pastore, Caitlin Settle, Moira Sullivan

Katherine Kilbourn

Katherine Kilbourn grew up in Easton, Maryland where her love for various dance styles began at the Mid Shore Dance Academy. She attended the Washington School of Ballet before furthering her education at Mercyhurst University where she will graduate with her BFA in Dance and a minor in Psychology this spring. Alongside her ever-growing love for ballet, she has enjoyed being a company member of Mercyhurst’s SoMar Dance Works and president of their National Honor Society for Dance Arts chapter.

An Ode To The Impermanent

Choreographer | Nadine Fox

Music | “Being Here” by Mammal Hands | “Before Dawn” by On Earth, Micheal Gungor & Tyler Chester | “Gun” by Mas Ysa | “For Blue Skies” by Strays Don’t Sleep | “Winter” by Matt Corby

Dancers | Sophia Du Jat, Ainsley Dunning, Madeleine Plourde, Sophie Satoh, Mia Semieraro

This thesis explores the feelings towards change and impermanence. The choreography is metaphorically based on seasons and has a visual element to depict the relationship of impermanence with our environment, the people who we connect with & our relationship with ourselves. The basis of my research has roots in Japanese thought and understanding Wabi Sabi which is a Japanese perspective that finds beauty in things imperfect, impermanent, and incomplete.

Intermission

Nadine Fox

Nadine Fox was raised throughout her life in Pittsburgh, Pennsylvania Nadine is extremely grateful for her time at Mercyhurst University where she had the opportunity to pursue both of her passions to receive a Bachelor of the Arts degree in Performing Arts Dance while simultaneously taking prerequisites for Physical Therapy graduate school.

Nadine is currently a certified exercise fitness instructor by the American Council of Exercise (ACE) and is currently in the process of studying for the National Academy of Sports Medicine (NASM)

Personal Trainer Exam. After graduation, Nadine will be working as the Supervisor of the Wellness: Healthy Living Department and the Founding Director for the Youth Ballet program at the Beaver County YMCA.

The Promised Land

Choreographer | Mara Isaacson

Music | “The Tragic Tale of Maggie Donavan” and “When I Cross

Over Jordan” by Bobbie Lancaster

Dancers | Natalie Cecil, Carlos de la Incera, Sophia Du Jat, Nancy Fisher, Ava Khoury (US), Erin McKenna, Nadia Stronkowsky, Moira Sullivan

“I look back upon the long, dangerous and precarious emigrant road with a degree of romance and pleasure; but to others it is the graveyard of their friends.” (Loren Hastings, Portland, Oregon, December 1847)

Mara Isaacson

is from Greenwood, Nebraska and will graduate in May with a BFA in Dance and minor in Social Justice from Mercyhurst University. Mara danced with American Midwest Ballet’s Junior Company prior to coming to Mercyhurst. Raw Edges has positively challenged her as a choreographer this year, and she has greatly enjoyed performing in one of the pieces!

FEMALE CREATURE: MARZANNA

Choreographer | Anna Menarchek

Music | “Sinfonietta: II. Serenade. Un poco adagio” by Szymon Laks and NFM

Leopoldinum Chamber Orchestra | “Symphony for Strings: IV Allegro molto” by Szymon Laks and Amadeus Chamber Orchestra of Polish Radio

Headpieces | in collaboration with Savannah Rachael

Dancers | Emma Berkheiser, Gabrielle Harris, Isabella Johnson, Ava Khoury, Olivia Showers, Madeleine Sipos, Katelyn Turner-Leftwich

Spring is drawing near, winter doesn’t want to go away

It’s still frigid in the evenings and snow is still falling Marzanna, Marzanna, you winter lady, Today we’ll drown you

Because we don’t want any more winter

Anna Menarchek

is a dancer, performer, and choreographer in Erie, PA. She will graduate this spring from Mercyhurst University with a Bachelor of Fine Arts degree in Dance She has trained in ballet, pointe, pas de deux, modern, jazz, and has deepened her passion through Pedagogical practices and learning about dance history. While at Mercyhurst, she has explored a variety of repertoire including Taglioni in Pas De Quatre, a cygnet in Swan Lake, the Sugar Plum fairy in Tis The Season: The Nutcracker, as well as collaborated with artists such as Steve Rooks

MY EYES ARE CLOSED BUT MY MIND’S AWAKE

Choreographer | Katelyn Turner-Leftwich

Music | “Summer Night Sounds” by Acerting Art | “The Last Foundry” by Raime | “Miserere, Op 44:11 Miserere nobis - Lento, tranquilissimo, cantabilissimo, dolcissimo” by Henryk Górecki, performed by the Los Angeles Master Chorale, Grant Gershon, conductor

Dancers | Drew Bauerle, Elena Bobby, Natalie Cecil, Nancy Fisher, Jakquelyn Gauker, Abigail Lipa, Jillian Pohl

Katelyn Turner-Leftwich

A native of Nashville, Tennessee, Katelyn began her dance training with the Centennial Youth Ballet She is a double major with a BFA in Dance and a BA in Pre-Health Sciences, and in addition to her training at Mercyhurst she has gone to LINES Ballet Pre-Professional Summer Program, New Dialect Summer and Winter Intensives, and American Ballet Theatre’s Collegiate Program. After graduation she plans to continue dancing and exploring new ways of movement.

Jennifer McNamara

Assistant Professor, is delighted to be a part of the Mercyhurst University dance faculty. Raised in Syracuse, NY, she spent two seasons with Richmond Ballet; among her most notable performance opportunities with the company were Kurt Joos’s The Green Table and Balanchine’s Serenade She spent the next eleven years with Eugene Ballet, where she toured the United States, Canada, Taiwan, India, Sri Lanka, Bangladesh, Syria, Jordan, and Tunisia She was grateful to grow as an artist in narrative ballets including performing the role of Lucy in Charles Bennett’s Dracula She also created leading roles in many of artistic director Toni Pimble’s contemporary works, as well as being sought by guest choreographers. After performing in Paul Vasterling’s Seasons, Jennifer was invited to become a principal dancer with Nashville Ballet; in her six years there, she was especially noted for dramatic portrayals such as the Chosen One in Salvatore Aiello’s The Rite of Spring and the title roles in Dennis Spaight’s Scheherazade and Paul Vasterling’s Romeo and Juliet and Lizzie. She was coached by the late Elaine Thomas of the Royal Ballet for performances as Myrtha in Giselle, the Sugar Plum Fairy in The Nutcracker, and Odette/Odile in Swan Lake, among others in the classical canon

After retiring, Jennifer worked to combine her love for teaching, words, and making things; she was an adjunct professor at Middle Tennessee State University and the rehearsal director for the Centennial Youth Ballet, she taught contemporary ballet for New Dialect’s daily company class, and she was on the faculty of the School of Nashville Ballet. Jennifer has designed and built costumes for her own choreographic works as well as on commission for others; several of these creations have been in gallery exhibitions

As a Pilates educator and an intuitive dancer-teacher, Jennifer’s thoughtful inquiry into the intertwined science and art of movement informs her work in and out of the studio; she is also an advocate for creating equitable opportunities in dance She is a past recipient of the Individual Artist Fellowship (Dance) from the Tennessee Arts Commission. Recent publications include an article in Arts Education Policy Review and the chapter “Afterword(s)” in Masculinity, Intersectionality & Identity: Why Boys (Don’t) Dance (Palgrave Macmillan, 2022) She is the co-editor of the book Dancing Mind, Minding Dance: Socially Relevant and Personally Resonant Dance Education (Routledge, 2023) and has co-authored a chapter on mixed methods research for the forthcoming book, The Handbook of Dance Education Research (Intellect Books, 2024) Jennifer earned her MFA in Dance from Hollins University in 2018.