WORK

For your pleasure but the pleasure is mine

For your pleasure but the pleasure is mine charts the cycles of disempowerment and empowerment in the intimate life of a twenty-something-year-old. Toggling between anxiety and ease, but always clamoring for control, this solitary dance work serves as an inquiry into whether we can reclaim agency over pleasure.

Premiered at The Tank in January, 2019
Concept, Choreography, Performance: Nora Thompson
Lighting and Scenic Design: Tekla Monson
Music and Sound: Cassie Willson
Dramaturgy: Chloë Engel
Producer: Cynthia Tong

Reflux

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A new play by Carly Brooke Feinman, directed by Miranda Haymon, explores societal expectations that are spoon-fed to us from birth to marriage.

Performed in the Broadway Bound Festival in August, 2018
Written by Carly Brooke Feinman
Directed by Miranda Haymon
Music by Cassie Willson
Movement by Nora Thompson

If Sand Were Stone

If Sand Were Stone follows a remarkable poet as she and her familygrapple with her early-onset Alzheimer’s Disease at the peak of her career. As their world unsteadies and shifts, they must learn to hold fast to love against all odds. Inspired by a true story and by extensive first-hand research with Alzheimer’s patients and their families, If Sand Were Stone is a testament to the resilience of the human spirit and, most importantly, to fierce love.

“…as staged by Tyler Thomas, with spare yet essential choreography by Nora Thompson, part of this musical’s triumph is its sensitivity and grace” – The New York Times

Performed in the New York Musical Festival in July, 2018
Book and Lyrics by Carly Brooke Feinman
Music by Cassie Willson
Choreography by Nora Thompson
Directed by Tyler Thomas

Unfinishing

Photo by Micha Thompson

Performed as a work in progress in May 2017 at Movement Research’s Open Performance at Eden’s Expressway
Choreography: Nora Thompson with dancers
Dancers: Jacob Musinsky, Caroline Shadle, Nora Thompson
Music: Volcano Choir, Sufjan Stevens, Nina Simone

This dance was created to explore memory and identity as research for choreography for the musical, If Sand Were Stone

Centipede

Inspired by a quote from Kyoko Hayashi about the aftermath of the atomic bomb, Centipede explores how large numbers (like death tolls and statistics) dehumanize their subjects. By creating a landscape of bodies that continuously grows, Centipede attempts to enliven the lost individual while acknowledging the temptation to abstract the multitude of figures.

Centipede has been performed at Wesleyan University’s Olin Library in 2015 (for nine hours over five days, seen in video above), the Cathedral of St. John the Divine in New York City for a an event memorializing the fifth anniversary of the Fukushima disaster curated by Eiko in 2016 (for four hours), and at the New York Buddhist Church for their service remembering Hiroshima and Nagasaki in 2017 (for two hours). Centipede is an ongoing, never-ending visual art/performance project that can and will be performed over and over, extending its physical manifestation and continuing to encourage dialogue about the effects of nuclear matters.

“There was a kind of intimacy about this scene of river and people, as if the running water were a giant centipede and the people its legs.”
– Hayashi Kyoko, “Two Grave Markers”

Tight Places

Photo by Dat Tien Vu

Performed Spring 2015 at Wesleyan University
Choreography: Nora Thompson with dancers
Dancers: Kira Fitzgerald, Rachel Fox, Rick Manayan, Nora Thompson
Music: David Thompson, Nicolas Jaar, Matthew Herbert

Where We Go

Performed Winter 2014 at Wesleyan University
Choreography: Nora Thompson with dancers
Dancers: Nick Daley, Kira Fitzgerald, Maddie Gazzolo, Jennie He, Lili Kadets, Maya Lockman-Fine
Music: Meredith Monk, Helios, This Will Destroy You

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