When did you start dancing? 
I started creative movement at age 3, but formal training began at age 8.

As a choreographer and as a dancer, who are your influences?  Whose work do you really like?
I was definitely influenced by Kurt Jooss and his ballet, “The Green Table” for this piece. The caricatures he created through a satirical movement style were effective in communicating political commentary, so I expanded on that idea for “Unheard”. I am also a fan of/inspired by countless choreographers, including Jessica Lange, Justin Peck, Crystal Pite, Jerome Robbins, Antony Tudor, and Ma Cong.

What influences your own inspiration or movement style?
I like unexpected, quirky movement. I find it engaging both a dancer and an audience member. That means that I draw inspiration from all sorts of sources for my movement style. I can get choreographic ideas from observing my dogs, from the way a body of water moves, from how two strangers interact at a gas station…the possibilities are endless! I also feel that the music/dance relationship is essential, so I draw heavily from accents within the score along with the mood of the melody.

How does your work connect to the larger world?
I hope “Unheard” will remind people of how much further we have to go to treat the sexes (all permeations of gender identification included) as equals. Too often people think that because gender equality has been established legally that it is also practiced socially. It is my goal that this piece encourages audience members to listen carefully to how they hear and value the voices around them.

This is Kate Webb’s third time choreographing for the company.

Briefly describe the narrative behind the work?
This piece is about how the psyche can break when faced with tragedy, and the sculpting decisions made afterwards.

How does your work connect to the larger world?
I love taking things often considered “ugly” or “sad” and turning them into something beautiful. I think a lot of people live in a black and white world, where things are good, and things are bad. If I can help give people an alternate view of an ugly situation, then maybe these things won’t be so ugly and sad, but instead beautiful and meaningful.

How do you use your dancers, and what do they contribute to your choreography?
I always try to treat my dancers like human beings instead of tools. I find that when I do this, the dancers bring a much more positive and authentic quality to their movement. And when everyone is happy and communicating well, amazing things start to happen!

How do you begin making a dance?
I like to start with the music. Once I’ve found an artist I like, I start paying attention to how it makes me feel. From there I start interpreting my emotions through movement. And then I organize everything into a narrative that helps portray the emotions I’m feeling.

What you are looking forward to in 2019 as a dancer and choreographer?
In 2019 I’m looking forward to big changes and transformations. I spend a lot of time in my comfort zone and I’m excited to see the artist I can become when I step outside my own head.

This is Michael’s seventh time choreographing on the company.