Peridance Contemporary Dance Company has commissioned 29 works by 21 choreographers in the last decade, building an incredibly diverse repertory. 

These exciting works have been presented alongside Perry’s iconic signature works for the Company, often accompanied by live musicians. 

Peridance Contemporary Dance Company, Al
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Dia-Mono-Logues // 2016, World Premiere 

Choreography: Igal Perry 

Original Music and Text:  Ofer Bashan 

Live Cellist: Nan-Cheng Chen 

Costumes: Shay Bares 

6 Dancers, 35 Minutes

Dia-Mono-Logues explores the ways in which people subconsciously project their own prejudices and preconceived notions onto others, affecting every interaction and relationship.

Conflicted Terrain // 2012, World Premiere 

Choreography by: Igal Perry

Music: Henryk Górecki's "String Quartet #3"  

Run Time: 18 minutes

Number of dancers: 7

Costumes: Matthew Griffin

Lighting: Dave Lough

7 Dancers, 18 Minutes

"Conflicted Terrain" is choreographed to Henryk Gorecki's "String Quartet # 3," featuring an on-stage string quartet placed on four movable panels (when played live). Perpetual movement draws audiences in as the seven dancers shift the musicians across the entire stage in various patterns. The relationship between the spacial patterns of the dancers and musicians create a chess-like effect. Large group work contrasts simple human gestures in intimate duets and a solo, where the intricacies of classical and contemporary ballet are intertwined. The relationships and dynamics morph as the dancers and musicians advance through ever-changing patterns, thus altering the traditional relationships between dancer and accompaniment.

"The second piece was Conflicted Terrain by Igal Perry. Another world premiere, its use of space and assemblage of performers was clever and unique. A string quartet on moving platform was shunted around the stage by means of ropes. This was not diversion, and the vehicle added acoustical interest to the piece. Through the platform traveling and being placed in differing locations, the groupings and interaction between couples was forced to change, giving us a new perspective on the interchange being acted out. It enhanced the entire story, lending credibility and visibility to unspoken dreams. The ensemble wove through the patterning, building to the crescendo. By the time, the quartet had been split up into separate units in the back, the dance was full on and rushed from being good into being compelling. It made the build-up worthwhile, and delivered a wallop at the end that was satisfying and much appreciated." - Wendy Potocki, May 6th 2012 

Infinity // 2014, World Premiere 

Choreography: Igal Perry 

Music: Ludwig Van Beethoven - 

Piano Sonata No. 29 in B Flat Major, Op. 106, "Hammerklavier": III. Adagio sostenuto

Costumes: Jaime Torres

Lighting: Brant Thomas Murray

8 Dancers, 17 Minutes

Inspired by the striking images of rural landscapes frequent in Salvador Dali’s paintings, Igal Perry’s new creation for the season is set to the famous Adagio movement of Beethoven’s Sonata Hammerklavier. The work, which depicts the delicate vulnerability of the human image against a background of vast, open spaces, derives its style and timbre from the music’s sustained and often haunting passages.

Thundering Silence // 2015, World Premiere 

Choreography: Igal Perry

Music: Vladimir Martynov 

Costumes: Keiko Voltaire

12 Dancers, 24 Minutes


Inspired by the music's audible silence and suspense, this work moves the dancers gradually - and at times abruptly - into a web of oscillating extremes, highlighting the differences as well as the utmost correlation between loudness and its nemesis: silence.


"It is an achingly beautiful work that almost defies words. Which might be the point after all, as resounding silence is its theme." - Bonnie Rosenstock ( March 7, 2015.


 “The piece brought to mind the architectural approach to movement that can be found in Balanchine’s leotard ballets…. Pas de deux flowed into pas de quartes that flowed into pas de six and all masterfully colored with a beautiful lyricism.  Igal Perry is a master at his craft; he is an artist unafraid to explore, to stretch himself in how he approaches and uses the body in space.  Bravo, Mr. Perry, bravo indeed.” -Darrell Wood, November 2014






Crazy… Crazy Love! // 2015, World Premiere 

Choreography:   Manuel Vignoulle


Inspired by old love songs, Manuel plays with subjects related to love: seduction, passion, craziness, blindness, and addiction.  “Love as a game of illusion and disillusion.  We bet.  Sometimes, we win.  Everything seems so new, energizing, powerful, enlightened, and full of possibilities.  Sometimes, we lose, ending up needy, abandoned, feeling separated, lonely, and so far from ourselves.  So much drama… A big masquerade.  But, addicted, we cannot stop playing!  We cannot stop hoping the next one will be ‘The One’!”

After Lazarus // 2016, World Premiere

Choreography: CharlottaÖfverholm

Music: Adel Andersson, David Bowie, Alvina Lanselle 

Video: Projections Anders J. Larsson 

Costumes: Thomas Björk 

8 Dancers, 16 Minutes 

Vivian & Paul // 2014, World Premiere 

Choreography: Sidra Bell

Music: Brian Eno "The Secret Place" and original composed music by Dennis Bell

Costumes: Shay Bares

Lighting: Brant Thomas Murray

4 Dancers, 13 Minutes

Sidra Bell’s extraordinary, avant-garde artistry is always a visually stunning explosion of raw dynamism. With her numerous internationally acclaimed choreographic residencies, PCDC is proud to proclaim Bell as a constant collaborator. The Company performed her work “The Ungathered” in its 2012 Spring Season to audiences’ rave acclaim. In this year’s creation, Ms. Bell explores a new direction of expression, which involves partnering, and the close proximity of dancers bodies.

Gestures // 2015, World Premiere 

Choreography:  Macia Del Prete

Communication is at the core of life.  It is, in fact, the essence of how we find our place in the world and how we share the world with others.  While communication via spoken language – or sign language – may indicate many differences between nations and cultural heritage, communication by gesture is much more intuitive and universal.  Through gestures, oftentimes not voluntary in nature, we are revealing emotional states and attitudes related to ourselves or to other people.  This ballet and its vocabulary is based on observing how human gestures are the most effective in expressing complex and abstract ideas, feelings, emotional states, and attitudes, and how they are intuitively perceived by the interlocutor.

I'm Here // 2013, World Premiere 

Choreography: Enzo Celli

Décor & Costumes: Jaime Torres

Lighting: Brant Thomas Murray

8 Dancers, 21 Minutes

Choreographer Enzo Celli presents a new work titled "I’m Here," inspired by Primo Levi's Holocaust memoir, which calls on society to remember the past in order to avoid future misdeeds. This artistic collaboration between Peridance Contemporary Dance Company and Mr. Celli celebrates 2013 as a year of cultural exchange between Italy and the United States. This project aspires to bring together three worlds, the American, Italian, and Jewish, and unite them in their common love for life and freedom. Celli’s deep understanding of both Italian and Jewish cultures is physicalized in gestural movement and a sensitive, evocative mix of dance and drama.

Evermore // 2013, World Premiere 

Choreography: Dwight Rhoden

Complexions Contemporary Ballet choreographer and co-Artistic Director Dwight Rhoden’s new creation for Peridance Contemporary Dance Company embodies his unique and dynamic style.  Mr. Rhoden, recently described as “one of the most sought out choreographers of the day” by the NY Times, merges his highly athletic and virtuosic choreographic style with PCDC’s talented artists.

“In this smoke-filled, brilliantly lit space, the dancers moved smartly in steps, which ran the gamut from ballet to ballroom to Broadway. The piece [was] entertaining and danced with vitality.” -Philip Gardner, March 13, 2013

Theory of Mind  // 2014, World Premiere 

Choreography: Bryan Arias            

Costumes: Elana Comendador

Lighting: Brant Thomas Murray

8 Dancers, 14 Minutes