The delightful Parsons Dance graced the BroadStage this past weekend April 18th and 19, 2026. This New York based company was founded in 1985 by Artistic Director David Parsons and the late Tony-Award winning lighting designer Howell Binkley. The company tours extensively and has performed in over 500 cities, 30 countries and 5 continents. Luckily for us their recent stop was in Santa Monica on a beautiful California day.
Walking up to the portico at the handsomely designed BroadStage one was welcomed with a live band playing cool jazz, a gentle ocean breeze and an atmosphere of joie de vivre that would be reflected in the performance to come.
Parsons Dance – Photo by Mary Mallaney
Parsons opens the show with his 1990 piece “Nascimento.” Milton Nascimentos’ Brazilian infused music, is syncopated yet fluid with Samba and jazz rhythms that are perfectly interpreted by Parsons’ spot on choreography. The fiery orange backdrop gives the impression of sunset at the beach as a lone girl awaits her suitor. Just as the music takes off, in he comes and the dancing begins. From this moment on we are drawn into the complex yet soothing style of free-flowing jazz performed with ease and brilliance by the proficient dancers.
Inventive staging, partnering and an ability to create choreography that flows organically is Parsons’ undeniable gift. There is little in the way of story here yet we feel the connection among the dancers. Romantic moments almost take off leaving us wanting more as each dancer skips away from the other always through delicious and surprising movement. Technically difficult turns, leaps and fast footwork is made to look as if nothing could be easier or more fun. When the music becomes a fascinating vocal riff, the choreography does not miss a beat as every accent is accounted for within the movement. When the music resumes, the choreography notches up. Buoyant, effervescent and a breath of fresh air this is the way to open a show.
The lighting design by Howell Binkley enhances every section with a perfect understanding of a pastoral day of beauty.
Original costumer Santo Locasto has dressed the women in simple flirtatious dresses with the male dancers attired in slacks and loose shirts all beautifully reimagined by Barbara Erin Delo.
Parsons Dance – Photo by Mary Mallaney
“Balance of Power” is exactly that as the lights come up to reveal Joseph Cyranski posed in an unwavering handstand. Entirely danced in one down spot, this is a quirky discipline of constant body isolations. Each part of the body has its’ moment in the spotlight as Cyranski moves through a multitude of sometimes outrages articulations. Focused and funny, this is characteristic of Parsons work as he is not afraid to “try anything.” Dressed in tights and no shirt Cyranski has no place to hide, he must be concentrated, as these deceivingly difficult movements take intense vigilance yet, there he is, calm, cool and collected. This short work is not only a show piece for the dancer but also a glimpse into the creative mind of David Parsons.
Lighting Design by Christopher S. Chambers cleverly enhances every move, while Parsons’ choreography embodies the fantastical percussion track by Giancarlo De Trozio. The simple costume design is by Barbara Erin Delo.
Parsons Dance Company. Photo by Lois Greenfield
“Fearless” is a new work by choreographer Courtney “Balenciaga” Washington. This work was co-commissioned by Parsons Dance as part of its Generation NOW Choreographic Fellowship and Works & Process.
This is an equal mix of technical dance and ballroom club culture. Putting dancers with deep training together with the flamboyant style of Ms. Washington brings something unique and wildly entertaining to the stage. Because she doesn’t resort to the usual tropes to resolve a choreographic puzzle, she instinctively finds her way through her own vision which is not quite like anyone else. Dressed in provocative costumes of sparkly tights and black leather like leotards with extended shoulders, the dancers take on a bold and in your face persona. Flaunting their sexiness and technical skills equally they put Ms. Washingtons choreography on full display. She keeps everything moving through fast and furious isolations, floorwork, exaggerated walking patterns and gymnastic voguing. The performers flirt with each other and the audience and everyone has a blast. Oddly the one note might be that these dancers are so well trained that loosening up just a little more would give this choreography an authenticity that is missing. Still, this is a fantastic new work with a singular and distinctive point of view. The title of the piece exemplifies the work exactly.
The effortlessly mixed music is “Talk to Me” performed by Champion, Four Tet & Skrillex. Sexy costumes are by Christine Darch and impeccably calibrated lighting is by Christopher Chambers.
Parsons Dance – Zoey Anderson – Photo by Travis Magee
Following a short intermission “Juke” by Jamar Roberts got us back in the groove with timeless music by the inimitable Miles Davis. Roberts has a long association with Alvin Ailey American Dance Theater as resident choreographer from 2019 to 2022. This background is evidenced in this piece with its’ deep technical demands, suggestive solos and attention to musical nuances. In a nod to the 70’s music the costumes by Christine Darch are vivid reds and purples strewn with fringe while the moody lighting by Christopher S. Chambers brings us into the cave-like space of a nightclub. The movement based on the idea of “Juke” or to dodge or fake out, leads the choreography into interesting spaces along with the sinuous music. The dancers of the company are so accomplished that they make movement in of itself worth viewing but they alone cannot give meaning where none exists. Therefore, though this conglomeration of steps are well executed and not easy, repetition begins to set in. Some judicious editing and a clear point of view would keep this piece from losing its’ edge.
Parsons Dance – Photo by Mary Mallaney
In synch with “Balance of Power” Robert Battles’ cadenced “Takademe” filled the following spot. “Speaking in Tongues” by Sheila Chandra is a vocalization of rhythmic syllables which creates an intensely syncopated score. To this Battle has rooted his piece in deconstructed Indian Kathak dance bringing impressively innovative movement to the stage. Dancer Tea Perez is tasked with this solo which requires not only intense technique but superb musicality and a droll wit. Does she live up, absolutely. This is a tour de force of movement from deep isolations to jumps and multiple turns all while keeping up with the constant flow of vocal sounds. Her costume by Missoni consists of heavily fringed red pants and a plain red shirt. The flying fringe forces our focus to her fleet feet and agility. Lighting by Howell Binkley confines the area to pinpoint our focus, our hearing and our senses so that we fully inhabit the moment along with the dancer. Wildly different and wildly entertaining this was a fascinating way to bring us into the finale.
Utilizing the music by Yusuf Cat Stevens is an intriguing choice as the best of his work stands the test of time with its’ unforgettable melodies and memorable lyrics. Thus, the pairing of Stevens with Parsons’ choreography seemed like it would be a perfect melding of style and substance. Lighting again by Christopher S. Chambers, set the mood of an outdoor “love in” while earthtone tights and tops by Christine Darch continued the vibe. Once again Parsons filled the stage with non-stop contemporary jazz movement and clever patterning but this time instead of bringing the lyrics to life, he seemed to skim the surface using similar steps and previously used ideas. Missing seemed to be any idea beyond moves to fill the time and though executed well and performed with joy this was not enough. The Steven’s tracks also did not seem to be the best selections in regard to production and so felt muddy. The best of Stevens’ music could create a nostalgic and heartfelt score that somehow was missed here. As is usual with Parsons’ abilities however, this was still a piece that was easy on the eyes, playful and fun but just missing a deeper sense of reason and depth and maybe nostalgia.
That being said, Parsons is one of the most innovative and joyful choreographers of our time and his work is important. Thank you as always to the BroadStage for this wonderful afternoon of dance and community.
The superb company dancers are; Megan Garcia Ziminski, Tea Perez, Joseph Cyranski, Justine Deluis, Joanne Hwang, Emerson Earnshaw, Odin Brock and Luke Biddinger.
For more information on Parsons Dance, please visit their website.
To learn more about the BroadStage, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Parsons Dance – Photo by Mary Mallaney. All photos used in this publication are from LADC media library.
