Works 2026: WANTED kicks off with In Pursuit, choreographed by Nancy Evans Dance Theatre (NEDT) Associate Artistic Director Ashleigh Doede, which riffs on the computer game, and subsequent kids’ TV show, Where in the World is Carmen San Diego. The piece begins with a series of fast lighting cues that alternate between black-outs and a dimly lit stage, revealing an ensemble of real-life Carmens wearing dark one-piece suits and the notorious, matching hat. Gaining momentum, the ensemble starts to travel through space with rhythmic chugging steps, morphing between formations. Meanwhile two skillful lead dancers – Jenn Logan in white and Jackie Pierce in red – vie over a glittering necklace. Sometimes the lead “Carmens” are lifted overhead, sometimes they maneuver through the ensemble’s changing pathways or pause in a shape long enough to take a snapshot.
NEDT Wanted 2026 – “In Pursuit” Choreography by Ashleigh Doede – Photo by Ayame Orlans.
A jazzy movement vocabulary and episodic structure make for an engaging dance, but at times the concept seems better suited to a cast of children. Or – if set on adults – a little winking irony might make the idea more fully realized. Some might appreciate commercial reference points, like a recognizable television soundtrack (the piece includes music from The White Lotus) or an icon from a 90’s computer game. Others, however, prefer dance-making that emerges from the artist’s unique view of the world, rather than allusions to mainstream entertainment.
NEDT Wanted 2026 – “Captcha: I’m not a Robot” choreographed by Jackie Pierce – Photo by Ayame Orlans.
Second on the program is Captcha: I’m not a Robot choreographed by Jackie Pierce. A recent graduate of UCLA’s Department of World Arts & Cultures/Dance, Pierce demonstrates aptitude for movement invention and exciting partnering. Although well-rehearsed and physically rigorous, her choreography gets a bit swallowed up with only four dancers on the expansive ARC floor. One solve would be to tighten the dancers’ proximity to each other, and locate them in smaller playing areas, using lighting to guide the audience’s gaze, which would give the choreography a stronger sense of spatial command. A soundscore comprised of multiple pieces (credits below) mostly works, although a short piano interlude in between electronic tracks feels confusing, or perhaps too short to achieve its intention.
NEDT Wanted 2026 – “Charlatan”, choreographed by Sophia Benardo – Photo by Ayame Orlans.
Charlatan, choreographed by Sophia Benardo closes the first act. Although Benardo is among the younger choreographers on the program, moments of this piece are reminiscent of archival modern dance footage from the 1950’s. It would be easy to assume a senior dance-maker created this piece because Benardo’s vocabulary so explicitly derives from the modern dance techniques of the 1930’s-1960’s, which her biography confirms, listing training in Graham, Limón, Horton and Dunham. A program note states that “Charlatan has been reimagined to complete a more layered perspective on identity, vulnerability and authenticity.” Those themes are not especially legible, but that does not detract from a vocabulary that suits the dancers, and lush phrases supported by string music from Balanescu Quartet and Hildur Guðnadóttir. More attention to the arc of the whole could help the ending feel less abrupt.
NEDT Wanted 2026 – “In for Me (INFAMY)”, co-choreographed by Nancy Evans Doede and Jenn Logan – Photo by Ayame Orlans.
The second half of the program is a longer dance theatre work In for Me (INFAMY), co-choreographed by Nancy Evans Doede and Jenn Logan. Inspired by Eugene Ionesco’s Exit the King, this work begins with Logan pre-set on a pedestal center stage, wearing a dramatically oversized skirt, stretched wide. Exaggerated gesture and clownish acting communicate her role as a self-obsessed leader. Soon we realize the skirt is being manipulated from underneath à la Mother Ginger in The Nutcracker. “Minions” in white clothing, white wigs and white lipstick pop out from under her skirt performing goofy, servile movements. When Nancy Evans Doede enters all in red, carrying a small red case, it becomes clear that she plays some sort of metaphorical director. Eventually one of the minions (Ashleigh Doede) breaks free from the pack and takes over on the pedestal, while Logan faces the reality that her moment in the spotlight is ending. Nancy Evans Doede herself does a lot of standing on the side, gesturing to indicate that she is manipulating the action on stage.
NEDT Wanted 2026 – “In for Me (INFAMY)”, co-choreographed by Nancy Evans Doede and Jenn Logan – Photo by Ayame Orlans.
What is most satisfying in this work is the well-developed visual language, expressed through wardrobe, props and costumes. Although comedic, the piece is full of symbolism about passing the baton of power and moving through different stages of life. These metaphors make for a layered viewing experience, since real life mother (Nancy Evans Doede) and daughter (Ashleigh Doede) represent different life phases in the piece, and on Mother’s Day no less!
NEDT Wanted 2026 – “In for Me (INFAMY)”, co-choreographed by Nancy Evans Doede and Jenn Logan – Photo by Ayame Orlans.
NEDT doesn’t purport to be anything other than what it is – a tight-knit local troupe who share the workload as administrators, choreographers and performers. Their mission includes the phrase: “to feature typically underutilized mature artists from 20-60 and beyond,” which focuses on ageism in the arts, but also suggests that these artists might not be presenting work elsewhere. The company claims Pasadena as its home city, rather than Los Angeles, which locates it in a suburban context, and is in residence at Pasadena Dance Theater, a studio that primarily serves children. Together, these details position NEDT as a hometown collective of artists who are committed to their creative practices, but who are not necessarily striving for elite acclaim. There is something refreshing about this type of humility, and certainly Nancy Evans Doede’s impressive biography leads one to believe she understands her company’s place in a broader context.
In Pursuit Credits
Music: “Cristobal Tapia De Veer, Kim Neundorf from The White Lotus Series; James Blake ‘CMYK.’” Dancers: Sophia Bernardo, Jenn Logan, Alice Lousen, Jackie Pierce, Nairi Tahmizyan, Jacob Schmieder-Hacker, Julie Turner. Guest Student performers: Micaela Collins and Angelica Villegas
Captcha Credits
Music: Bloodwork by The Dare, Prada Spring/Summer 2019 Women’s: Double Exposure and Men’s: Soundtrack 2 by Frédéric Sanchez, Yamakasi by ellktro
Dancers: Sophia Benardo, Ashleigh Doede, Alice Lousen, Jacob Schmieder-Hacker
Charlatan Credits
Music: “Aria”, and “Lullaby” by Balanescu Quartet, “Bær” by Hildur Guðnadóttir
Dancers: Ashleigh Doede, Alice Lousen, Jackie Pierce, Nairi Tahmizyan, Jacob Schmieder-Hacker
In For Me (Infamy) Credits
Music: Jerry Lieber & Mike Stoller, Baja Marimba Band, Geoff Barrow, Boyz Noise, Hendrik Pienaar Hofmeyr, Ronald G. Petersen, Carlo Virzi
Dancers: Nancy Evans Doede, Jenne Logan, Ashleigh Doede, Sophia Benardo, Alice Lousen, Jackie Pierce, Nairi Tahmizyan, Jacob Schmieder-Hacker
Costume Design: Katrina Merine
For more information about the Nancy Evans Dance Theatre, please visit their website.
For more information about ARC Pasadena, please visit their website.
Written by Annie Kahane for LA Dance Chronicle.
Featured image: NEDT Wanted 2026 – In for Me (INFAMY), co-choreographed by Nancy Evans Doede and Jenn Logan – Photo by Ayame Orlans.
