March just so happens to be the birthday of one of the Against the Odds artists, so what better way to celebrate that sharing a bit more of her interview here? The lovely Caitlin Meehan had a chat with Lacey about jazz, college, performing, inspiration and a whole lot more! You will be able to read the whole article on C2C soon! Happy Birthday, Lacey! We're all looking forward to seeing your piece with Six One Seven Dance Collective at Against the Odds!
C: Do you have a favorite dance form, or a favorite choreographer?
L: My favorite dance genre is jazz. I started taking classes in this form when I was only 5 years old and have always loved the sassy, playful nature of the movement. In more recent years, I have come to mix my favorite jazz elements such as isolations and battements with quirkier gestural based movements. In most circles, this form is called contemporary, but in my world, I just think of it as my movement voice. I am inspired by Trisha Brown, Jose Limon, and Gus Giordano to name a few.
C: I understand that you split your time between Boston and New York, which must be a challenge! Which companies in which cities?
L: Yes, I spend quite a lot of time on trains and buses, but it's been an unbelievable experience. I have been working with Undertoe Dance Project in New York City for 5 seasons. UDP is a jazz and tap fusion repertoire company, which means that the majority of the work contains both genres complimenting one another to create an overall experience and a very unique voice. I have been blessed to be the jazz captain for 4 seasons and have spent this year mainly based in Boston, trying to expand the company's presence in the northeast. The company is a wonderful group of women who are passionate about these often underrepresented dance forms. I have had the pleasure of choreographing for the company on several occasions and hope to continue my work with UDP in the future.
My work in Boston feels like it is just beginning, though I have been in the community for 3 years now. I teach full time at two local studios, and spend my weekends working with Six One Seven Dance Collective. This is my 3rd season as a company member and my 2nd season as a featured choreographer. Six One Seven is a modern based company that creates work inspired by important concepts in life such as the beauty industry and the many meanings of home. This group of women allows me to explore my roots as a modern dancer and to continue to work collaboratively in the dance community. It is a joy to be a part of such wonderful dance companies and to have the privilege of exploring the many sides of my love of dance and movement in general.
C: What led you to Six One Seven Dance Collective?
L: I was first interested in Six One Seven Dance Collective because of its collaborative nature. I love to be involved in the process of creation. I was interested in exploring myself as a choreographer and having an opportunity to work with a variety of movement styles and voices. Each season is a new adventure. Working collaboratively rather than in a repertory company has been quite a valuable experience. I feel that we are always creating new ideas and new works, which is quite a lovely and often crazy process. The company is comprised of great people, who are now great friends of mine. I love knowing that rehearsal is work, but it is also a time to spend with friends and share my life with dancers through our work and our laughter.
C: I have to agree about the collaborative process! Monkeyhousecreates quite a bit of work that way. Looking forward to seeing you perform- thanks for sharing your history and inspirations! And Happy Birthday!
A very happy birthday to the rest of our March babies as well!
Zach Galvin, Joseph Wiggan, Josh Bergasse, Kelly Peters, Diane Walker, Katherine Ferrier, Emily Hare, Amelia O'Dowd, Matthew Murphy, Gail Fine, Michael Lawrence, Lara Allard, Aaron Tolson, Kay Wilson, Sarah Weichman, Julia Blatt, Ellen Philpott, Arthur Fink, Liesl Garner, Amy Harnett, Anita Lauricella , Lacey Sasso, Jillian Panek, and Madeline Krolak.
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