A Close Shave (2006)
The content of this work centers on the idea of a man confronting and wrestling with the proverbial man staring back at him every morning when he shaves.  Inspired by “Man in the Mirror,” by Patrick Morley. 

Ascension (2006)
Relationships are the most important aspect of life.  This work centers on the idea that human beings ascend to higher places when their relationships are respect based, balanced, and full of trust.

BALListic (2002)
We wondered what would happen if we researched and developed movement on exercise physio balls.  This dance was constructed via numerous months of improvisation. This lighthearted work is particularly useful in our educational outreach performances and residencies with children and families. 

B’Roke (2004)
We are blessed to have moments in life that elevate us from daily negative circumstances such as laughing extremely hard, listening to a beautiful piece of music, watching your child play, or worship.  This piece represents gathering these uplifting life moments together into a colorful bouquet. 

Dances from Rapa Nui (2007)
Inlet dancers were taught traditional Rapa Nui dances as part of an international artist exchange made possible by the Ohio Arts Council, the Ohio Arts Foundation Inc., the U.S. Department of State Bureau of Educational and Cultural Affairs, the American Embassy in Santiago (Chile) and Playhouse Square Foundation.  Traditional choreographer Akahanga Rapu Tuki and Rapa Nui dancer Joanna Pokomio spent two weeks teaching their island’s history, culture, songs and dances to Inlet dancers to create this suite of indigenous dances.

Dream of Sleeping (2004)
This dance is made possible by the Strohl Family Trust in response to sleep specialist Dr. Kingman Strohl’s request to create a work based on sleep and its related issues. The work continues to evolve and sites individual bed time rituals, sleep posturing preferences, various sleep disorders, experiences and images. 

From Mourning to Dancing (2005)
I wanted to create a solo for Inlet founding member Leila Pelhan through which she could share her theatrical capacity.  This is a solo theatrical piece that deals with dynamic and emotional opposition — contrasting the harshness and joys of life. Recent world events have left countless women suffering great loss.  My hope is that their mourning would be turned to dancing.

imPAIRed (2004)
Inlet Dance Theatre conducted residencies for visually impaired and blind students at the Cleveland Sight Center (CSC) in 2003 and 2004, culminating with the Sight Center students participating in Parade the Circle Celebration each year.  In reaction to our experiences with CSC students, staff and parents, we blindfolded the dancers and asked them to partner each other – thereby unleashing a new level of sensitivity, caring and trust within the dancers.  The resulting intimacy, tension, and imagery are condensed into this challenging duet.

In, Not Of (2007)
Travels to Easter Island for an international artist exchange inspired this work about the impact globalization is having on indigenous peoples and the realization of being in the island’s culture, but not of the island.   

Memoriate (2001)
A conversation I had concerning issues facing the elderly and their care-givers sparked the creation of this work.  The dance was created with the intention of honoring our elderly and those that provide their care and heightening our awareness of their concerns. 

Offaxis (2008)
Offaxis is an exploration of a character.  We wanted to create a character representing men who lean outside the box of cultural norm—a character motivated by an unseen force or voice.  We chose the physical aspects of gravity to represent the unseen entity in his life which motivates him to move.  Many men who choose a career outside of cultural norm (as a professional artist, for example) receive social feedback informing us that we’re strange—not unlike a circus performer.  We hear things like, “You do what for a living? How do you make money?” However, we are aware that we are simply living out our God given wiring.

Out of Nowhere (2008)
Out of Nowhere depicts, in a lighthearted way, the power of influence on a culture. Whether influence is determined to be good or bad is not the purpose of this piece but rather to bring to our attention how ideas and determination have their affects over time. The piece also shows that “these influences” are often accelerated within personal relationships. Is a culture unstable or open minded? Are relationships and values always determined to change? Influence and transformation have an interesting relationship and purpose in our personal lives as well as that of a cultural. –Stephen Wynne

Skirting the Heart (2005)  (Stephen Wynne)
Religious ritual is often adorned with choreographic ornaments that create the desired appearance of reverence but lack the compassion and truth that leads to spiritual wholeness. Skirting the Heart is a journey in search of that wholeness. Through ritual, cultish and political activity, truth stands separate. Here the searcher will discovered wholeness and truth on uncharted shores.

Snow (2007)
Six dancers (representing the six points of a snowflake) reveal and are held aloft for their distinct characteristics and work in ensemble to transform the space much like snow transforming our yards and metro parks into winter wonderlands. 

The Door (2006) (Stephen Rooks)
The Door is a journey through redemption.

This Could Hurt (2005)
Given the creative direction of making a piece centered on the topic of gender, we decided to use time with the male students for research.  This work was inspired by a book, “Wild At Heart,” by John Eldredge and centers on the idea of a group of guys having an adventure full of risk taking behavior.

Tides and Solitude (1996) (Sally Wallace)
Tides and Solitude began as a solo.  I was first interested in having three legs in which to shift weight instead of two.  Needing a prop to travel in such a manner allowed me to move differently than my normal movement vocabulary.  I invented a movement vocabulary and technique with the poles containing under and over curves which cover a vast amount of stage space with few weight shifts.  This movement experience triggered images of sailing—the long stretched over and under curves, over and under with the waves, and the speed and grace of that kind of traveling.

War Effort Eves (2002)
This dance was created in reaction to 9-11 and centers on three archetypes of American women during WWII.  The three characters represent the USO performer, the Hollywood escapist dancer/actress from the big musicals, and Rosie the Riveter.

Winged Opposition (2005)
This piece began with the question, “What if the wars and natural disasters of this world are the physical manifestations of the spiritual realm?”  We have prophecies in ancient texts that speak of such opposition and hardship.  The movements in the piece make reference to scriptures in both the Old and New Testament of the Bible.  The conflict and resistance in this piece represent the battling we experience in many aspects of life.

Winter Forest (2007)
Inlet commissioned Robin VanLear (Director of Community Arts/Cleveland Museum of Art) and a team of artists to create giant puppets and masks for this work which is intended for performance in nontraditional spaces.  This winter spectacle is inspired by snow white forest creatures. 

Wondrous Beasts (2005)
This dance’s structure and images are metaphors for the growth process and challenges individuals experience when in a mentoring situation such as the Inlet Trainee Program. Disparate characters come together for a time and are challenged by new challenges and situations.  These experiences bring about changes that inform choices for continuing on their life journeys.

You Are Now Connected (2003) (Steve Rooks)
You Are Now Connected was inspired by the urban music of Sean Slaughter.  This dance deals with someone who struggles with various issues in life, but seeks to find significance in our world, particularly with God.