Movers & Shapers: A Dance Podcast
Jun 11, 2026 · 56 min · 13 segments
From her early experiences of finding freedom in ballet classes, to becoming a devoted bunhead, to her modern dance studies at Princeton, and her current work in choreography and movement artistry…
Erin Carlisle NortonHostThere are people I'm still working with who kind of started working with me back around the late 90s or 2000.
You know, the model that's like these kind of old school, like dinosaur models, like the Graham Company or something that just has never felt sustainable given the kind of work I do and the variety of the work and the different demands of the different sites and different places.
So from that point, did you start to look for more site work or how did you navigate things?
I mean, I did site work for a while and I was kind of doing that and making work for stages.
And I think the next big turn though really came when, well, there were like a few things that happened in tandem.
Like I got really tired of renting space by the hour and just like with this company of people, you Kind of trying to, I mean, it's hard enough to keep people together and their rehearsal schedules coordinated.
And then when you can't find space and you have a different space every time and people start going to the wrong studio because they thought that Tuesday was there instead of there.
I got tired of carrying, like back then it was a boom box, you know, like carrying stuff around.
And, you know, I'm like there with the shopping cart going up five flights of stairs.
So I, I decided I really wanted a room of my own, you know, so that was something that was really a radical idea at that time for me, like that maybe it was more important to have a space that was like a dedicated space than a beautiful dance studio with a Marley and a mirror and all that.
I got a small grant from, I think it was at that time from the Boston Kyleburn Foundation.
And I got this money that I used to rent studio space in a lamp works in Williamsburg because back then you could still do that.
So I rented this raw industrial little studio that I was able to afford because the woman was storing lamps in it also.
There are people I'm still working with who kind of started working with me back around the late 90s or 2000.
You know, the model that's like these kind of old school, like dinosaur models, like the Graham Company or something that just has never felt sustainable given the kind of work I do and the variety of the work and the different demands of the different sites and different places.
So from that point, did you start to look for more site work or how did you navigate things?
I mean, I did site work for a while and I was kind of doing that and making work for stages.
And I think the next big turn though really came when, well, there were like a few things that happened in tandem.
Like I got really tired of renting space by the hour and just like with this company of people, you Kind of trying to, I mean, it's hard enough to keep people together and their rehearsal schedules coordinated.
And then when you can't find space and you have a different space every time and people start going to the wrong studio because they thought that Tuesday was there instead of there.
I got tired of carrying, like back then it was a boom box, you know, like carrying stuff around.
And, you know, I'm like there with the shopping cart going up five flights of stairs.
So I, I decided I really wanted a room of my own, you know, so that was something that was really a radical idea at that time for me, like that maybe it was more important to have a space that was like a dedicated space than a beautiful dance studio with a Marley and a mirror and all that.
I got a small grant from, I think it was at that time from the Boston Kyleburn Foundation.
And I got this money that I used to rent studio space in a lamp works in Williamsburg because back then you could still do that.
So I rented this raw industrial little studio that I was able to afford because the woman was storing lamps in it also.
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