Performances



Concerts

Both locally or internationally, Inlet Dance Theatre consistently gives public performances in a wide variety of settings to diverse audiences.  Inlet is equally at home performing at theaters, outdoor pavilions, schools...even rustic villages (as the first Amercian modern dance company ever to perform on Easter Island).

Inlet takes pride in its flexible and broad repertory that is both artistically pleasing to dance experts and accessible to new audiences.  In addition, Inlet is uniquely poised to offer dynamic entertainment for children and families.

Contact us for booking information.

 

 


Special Events

Inlet Dance Theatre has an extensive history of performing at corporate events, private parties, or civic engagements to creatively maximize the impact of opening celebrations, galas, benefits, festivals or events. In addition to a thematically and topically diverse repertory, we are able to tailor performances to better suit the needs of any special engagement. Here is a partial list of Inlet Dance Theatre special events:

Corporate Events
Forest City Enterprises/Tower City Center 
Progressive Insurance
Event Works
Lexus Style Events
Judson Retirement Community

Cultural Institutions
STOMP collaboration at Great Lakes Science Center
The Cleveland Museum of Art
Western Reserve Historical Society
Cleveland Botanical Gardens
The Natural History Museum of Cleveland

 

 

Repertory

Below are descriptions of works currently in Inlet Dance Theatre’s active repertoire. Choreography by Bill Wade unless noted.


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. 

Beauty in Tension (2010)
Centered in our recent anxiety-ridden economic times, this work explores how people are living under tension, being held back by circumstance, and/or caught up in a sea of resulting emotions.  Some cope in an unhealthy manner, others find peace.  Moments of beauty, release and freedom amidst this tension inspire hope. 

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.

Center of The Earth (Te Pito o te Henua) (2012)
In spring of 2008, Bill Wade and the company members of Inlet Dance Theatre were blessed to participate in the final phase of an International Artist Exchange with artists from Easter Island (Rapa Nui), made possible by the Ohio Arts Council, the Ohio Arts Foundation, The State Department, and the American Embassy in Santiago (Chile). As part of that exchange, Inlet artists spent two weeks on the island performing, teaching, and exploring. Center of the Earth (Te Pito o te Henua) was created in response to this multi-phase international artist exchange program. The imagery in this work is directly connected to specific experiences on the island. We use Inlet's unique aesthetic and brand of modern dance and reference Rapa Nui cultural icons, environmental images such as the ocean and lava caves, and focus on global themes of community, identity and gender roles.

Create (2009)
This pop-modern piece is inspired by the dynamics of the timbre in the music, the creative process, and the dictionary definition of the word "create".    

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

Doppelganger (2001)
The inspiration of this work comes from the miracle of gestation, whether it be the creation of a unique individual, a work of art, or an organization such as Inlet.

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. 

Four Elements (2011-2015)
Inspired by the book, “The Four Elements of Success,” by Laurie Beth Jones, this four movement work explores how the four elements can be viewed as personality types. The idea for this work came as a result of an organizational development workshop in Inlet's rehearsal studio led by Tinamou Consulting (tinamouconsulting.com) followed by collaborative sessions exploring how to express each personality type using Inlet’s unique collaborative creative process and aesthetic brand of modern dance. The first installment Water, premiered in 2011, with Air (2013), Fire (2014) and Earth (2015) following.

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.

Let Go (2011)
For many, life involves periods of familial or financial struggles, peer rejection, and even harsh circumstances like battling cancer. Choosing to work past the resulting issues involves learning that forgiveness and letting go is a key component to maturity and freedom.

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) (Stephen Wynne)
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.

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.

Soon I Will Be Done (1993)
This is a solo Bill created and performed when he was still dancing. Many of us traverse life altering painful experiences; many of those events stay within us for years or a lifetime. This solo shares how faith and hope can pull us through personal darkness.

Stone by Stone (2010)
In order to create this work, Nehemiah Mission Executive Director, Jim Szacaks stopped by an Inlet rehearsal to explain to us the story of Nehemiah rebuilding ancient Jerusalem and how that related to the work of his organization. Additional inspiring research included a DVD teaching series by Dr. Colin Harbinson, “Stone by Stone,” in which the stones that blocked the way of traveling back into Jerusalem are used as a metaphors for obstacles preventing us from bringing hope and restoration to the brokenness of our community. We use the title of this work with Dr. Harbinson’s permission and blessing.

There is a Fountain (2002)
Set to an unusual rendition of a classic hymn, this duet follows the composition and dynamics of the score while citing Americana art, music and dance.

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.

© 2015 Inlet Dance Theatre. All rights reserved.
Todd Berger Design, Lauren Stonestreet Photography