Sam Mullen: You have a lot of choreography that is now being performed by other company members. What has it been like to teach the choreography to each dancer? How does it feel to see your work being performed by each person/personality?
Nicole Harris: While we all come from different backgrounds I think one thing that is universal within Monkeyhouse is that we are all interested in seeing how a piece changes as it is performed by new bodies with new personalities and experiences to draw from.  Our goal is never to have someone mimic the choreographer but to find their own voice within the work.  It's why almost every piece is choreographed in collaboration with the dancers and you'll never quite see the same piece twice.

Some pieces, when they acquire a new performer, stay within the same movement vocabulary and the changes come out in tone and texture.  Other pieces add, subtract or replace phrases based on the needs of the new performers.  Some pieces retain their concept or story but it ends up being told in a completely different manner.

I was actually just talking about this last option with Caleb last night.  One of the pieces I have restaged for this show is a duet that was originally performed by Caitlin Meehan and Nikki Sao Pedro-Welch.  (For this show it will be performed by me and Sarah Feinberg.)  The structure of the piece is largely one phrase that gets repeated and manipulated over and over with a final section of partnering between the two characters.  In watching Sarah learn and develop her version of the piece I thought I would love to take the same structure but allow the dancer(s) to create their own phrase as the base of the movement instead of just adapting my original phrase - as Sarah and I did.  When I first took this piece out of hibernation I had thought that it would be an interesting one to add to the series of duets Caleb and I have been performing, only the vocabulary of the original choreography is completely different than the vocabulary that comes out of where our two movement backgrounds meet.  But the integrity of the piece won't change at all if the choreography of that main phrase is completely different.

Karen talked quite a bit about restaging Firk II with you and Olivia so I'll skip that one.  The last piece I restaged for this show is a solo I created in 2011 with Caitlin Meehan.  I have actually taught this piece to two different dancers (Caleb from Monkeyhouse and Julien, my student at the Groton School) in the last few months.  In both cases it was much more of the first method I mentioned above.  The choreography, which was originally created through improvisations with Caitlin, has become now a set series of gestures.  However, the piece is entirely about the personality and idiosyncrasies of the character in a very real and relatable situation.  So, despite there being a written list of gestures that defines the structures, Caleb and Julien each had drastically different (but equally amazing) interpretations of the piece. ​

SM:  You have two duets with both Caleb and Sarah. What has it been like working on the duets with each person? Are the duets similar or completely different from one another with each specific person? Have the similarities /differences impacted rehearsals at all (tough changing from one character/emotion to the next or, if they are similar, is it the same character being continued over into the next story)?
N:  Yes, since the show is largely about relationships there are quite a few duets.  You and Olivia have two as well!  

All four of my duets are pretty drastically different.  It's always possible to draw comparisons.  Both of my duets with Caleb are about relationships, although in one the relationship is just beginning and the other doesn't end well...  We also have props that make our duets more like trios at times.

Sarah and I have a similar partnering vocabulary in the two pieces, so they are definitely alike in that way.  However, one is fairly linear in its storytelling and the other is rather abstract.  

Like any Monkeyhouse show (or any show with many choreographic voices) this show requires a lot of mental elasticity from the performers.  Even just in these four pieces I jump from an overview of an entire relationship in which I am left alone at the end.  Then I am the one who does the abandoning and we explore what it means to trust someone.  The next piece plays with rebound and reaction and how two people intentionally or unintentionally impact one another.  And finally I am one of two people who has to learn where baggage, insecurity and mental illness can fit into establishing a new relationship.  That's a lot of emotional roller coaster - and I'm in at least 2 other pieces that aren't duets...!

Sam Mullen: You will be performing a new (to you) piece in this show.  It was choreographed by Nicole Harris and originally performed by Caitlin Meehan.  As you worked on making the piece your own you developed a rather extensive backstory of your character, Fred.  How did that come about and how did it change how you viewed the piece?
Caleb Howe: ​As an exercise to help me with Noumenon, Nicole asked me to fill in a lot of the backstory that goes unsaid in the piece.  With whom is the character texting?  Why?  Where is he?  In a couple cases the specifics of the backstory became part of the piece.  His aunt's habit of calling at inopportune times was incorporated into the choreography.  But the exercise wasn't just about informing specific moments in the piece, but also finding all the ways that the character *isn't* Caleb.  Because the piece is rooted in a personal moment that we've all experienced it was easy to become self conscious about the movement.  Inventing a substantial backstory for the character helped separate his motivations, movements and decisions from my own.

SM: You and Nicole developed a duet, Voetstoots, (your choreographic debut!) for the first version of re{ACT} re{BUILD} re{COLLECT} in July. It has changed some since that first performance. How have audience responses from different concerts helped develop the piece? 
CH: I'm not sure how much we've incorporated from the audience as we've developed the piece.  I think both Nicole and I went into the July performance knowing that we wanted to do a lot of work on the piece afterward.  More than anything we wanted time to get past rehearsing the movement and work on the other aspects of the piece - the characters, the dynamic between them and the acting.  That said, because the piece is so narrative, it has been fun to hear audience members interpretation of the story.

by Karen Krolak

​Nicole enjoyed interviewing the other choreographers we are working with, but Karen stepped in when it came time to interview the choreographers of Voetstoots, Caleb Howe and Nicole herself.  Here are their thoughts on collaboration, the choreographic process and working together.

Nicole and Caleb will also be dancing in work by Elizabeth Powers, Karen Krolak and Elyssa Berg.

reACT reBUILD reCOLLECT
Friday, July 27th @ 8pm
665 Salem St, Malden, MA
Tickets available here for only $10 if you use the VIP Code MH10.  
VIP tickets are not available at the door so get yours today!​​

karen Krolak: Lots of people loath collaborating.  What drew the two of you to want to build something together?
Caleb Howe & Nicole Harris:  We improvise well together.  We’ve had a lot of opportunity to experiment with movement together over the last year and while we are both happy with what comes out of those exercises, this was an opportunity to see what could happen with a more prolonged process.  Caleb has never choreographed before, and so collaborating gave him the opportunity to build a piece without having to take on everything at once.

kK: Can you describe how this piece grew out of specific Musing exercises?
C:  When you first made the umbrellas during the first generation of what later became the Dictionary of Negative Space, they had a very different intent than the prompts you gave when you brought them into rehearsal back in March.  You handed an umbrella to me and asked Nicole to coax me out from underneath it.  We were the only two in attendance which gave us the opportunity to do a lot in a short amount of time.  Working with the same partner over and over again allowed us to build an understanding of how the umbrella moves even as the specifics of the prompt changed.  
N: When we left the studio that day both Caleb and I were interested in continuing to play with the ideas you had introduced.  Knowing you and what you know of the roles  depression and anxiety can play in both mine and Caleb's lives, I am not surprised that you selected those particular prompts for us.  When we got in the studio this spring we tried to stay true to the idea of finding the ways you can help support another person, even when that means temporarily setting your own problems to the side.  The idea of the umbrella expanded and the journey of the characters developed, but the seed of the piece continues to be that same exercise of two people supportively coaxing each other.

kK: Caleb, how did the umbrella shape your movement choices?
C: Much of the movement that Monkeyhouse is drawn to tends to be very grounded, either on the floor or with hands on the floor.  The umbrella does not like to be upside down and so it restricts choices and required me to find more upright movement.  While I do have some background in ballroom dance, the choice to use it here came much more from the restrictions the umbrella posed than simply relying on what I knew.

kK: Nicole, this is the first time the you have collaborated with Caleb on choreographing a piece, how was the process different than other choreographers in Monkeyhouse?
N: Since I have primarily collaborated with you for the last 18 years, we have developed a shorthand (both verbal and physical) in working together which doesn’t exists yet with Caleb, so the experience was very different in that regard.  I think my biggest challenge was making sure I supported Caleb, who hasn’t choreographed a piece before, in a way that didn’t impose my own agenda on the work or the process.

kK: Caleb, what were some of the challenges you dealt with as you choreographed a piece for the first time?
C: I don’t have any training as a dancer,  The challenge for me building this piece was not having a movement vocabulary to draw upon, and having to construct each of the movements from scratch.
N: Caleb described it to me as being similar to when a child learns to read or write.  They don’t yet have the experience to recognize entire words but instead process each letter one at a time.  I thought that was a really great analogy for what I saw in working with Caleb.
​
kK: Nicole - how did you find the music for this duet?
N: Before we knew what the piece was going to be we were playing Pink Martini’s “Hang on Little Tomato” in rehearsal.  The movement instantly began to transform itself.  However we knew we would not get the rights to Pink Martini’s music, so we slowly introduced other pieces of music discovered on Ilicensemusic.com until we found the right combination of what we were looking for, not too fast, no lyrics, not too heavy a swing.  Once the music was selected I did a little editing to the beginning to help support the story we are trying to tell.