Because Steinways are handcrafted, no two are exactly alike. In September, Bennett and Sarah Yeh P’24 ’27, associate head for teaching, learning, and faculty, visited the Steinway & Sons factory in Queens, N.Y. There, they observed the precision that goes into the instruments’ construction, and they tested five pianos. “I thought it was going to be difficult to tell them apart, but each was very different,� Bennett says. Knowing the concert grand would be needed for solo recitals, chamber music, and chorus accompaniment in CA’s medium-sized hall, he adds, “we went with an instrument that had the clarity and projection necessary, while still being able to create more intimate tone colors.�

Two generous CA families also donated pre-owned Steinways. A Model B classic grand piano was moved into the Hammett Ory Theater when the C.A.C. was completed in spring 2025. It was in use throughout the year for orchestra and chorus rehearsals and performances, the mainstage musical, and Music Café. In September, a Model O, a living room grand with a custom macassar ebony finish, part of Steinway’s “Crown Jewel� collection, arrived from Singapore, a gift from Jaehee Koo and Tong Buhm Tommy Kim P’26. It’s now used regularly in the Jasmine Music Practice Room for piano lessons and chamber music.

At the end of its first year, the C.A.C. is home to all-new pianos: seven grands, four uprights, two digitals, and a keyboard lab. “Students now have reliable access to new, fully functional, and pedagogically appropriate instruments,� Bennett says.

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February 28 and March 1, the Performing Arts Department presented The Ballast of Iridescence, choreographed by dance teacher Patrick John O’Neill and the students of the 91³Ô¹ÏÍø Dance Project. The first dance production in the Centennial Arts Center’s Hammett Ory Theater offered a meditation on growth through the metaphor of color. 

O’Neill approached the piece from a child’s perspective. “We usually think of play as something weightless, like a balloon drifting up or a parachute catching a breeze,â€� he says. “But Maria Montessori reminded us that play is truly the ‘work of the child.’ It takes structure, intention, and real effort. Since our society often asks us to trade our sense of wonder for adult rigidity, this piece asks how we carry the lightness of our beginnings into the gravity of our lives.â€� 

At the start of the performance, a canopy of red balloons covered the stage floor as a lone dancer, Astrid Erdos ’26, stepped onstage, gazing upward in wonder. As the balloons slowly lifted and floated away, the rest of the ensemble, adorned in paint-splattered costumes, joined her for a dance set to a lyrical rendition of “99 Red Balloonsâ€� by Nena. The soaring choreography was rich with jumps and sweeping floor work that filled the space with a sense of possibility. 

O’Neill credits the dancers as collaborators, praising their ability to shift from syncopated jazz to grounded modern, embodying the full spectrum of emotion in the piece. “Each dancer was given the opportunity to contribute to the choreography,â€� Astrid says. “Oftentimes, we would split up into groups to choreograph small sections, and then we would put each group’s choreography together to make a longer dance. With this process, every dancer was able to sprinkle in their unique style.â€�

The performance moved through an entire visual spectrum. Warm hues gave way to cooler, heavier tones. A high-energy number to Harry Hudson’s “Yellow Lights� featured four dancers who transformed simple yellow ribbons into dynamic ballet bars that they ​​pliéd on, weaved beneath, and even cartwheeled on top of.

Later, a dance to  Lorde’s “Green Lightâ€� drove sharp, symmetrical choreography. A number set to “Dark Blueâ€� by Jack’s Mannequin included a blue glow-in-the-dark pyramid. Dancers climbed, slid down, and ricocheted off its illuminated planes. 

In a solo inspired by a writing assignment she completed in O’Neill’s Dance Technique class, Aleki Zdraveski ’26 gave an introspective performance set to “Dark Taupe� by Arden Forest. In the piece, she reflected on the experience of creating work in her ceramics class and the emotional impact of others’ reactions to it. Her writing also drew connections to choreographer Pina Bausch, who believed that audience response is an essential part of a choreographer’s work. Through measured yet powerful movements, Aleki translated this reflection into a deeply personal dance.

From that stillness, the full cast surged into a piece set to an instrumental version of “Paint it Blackâ€� by the Rolling Stones. A rainbow parachute billowed open as students darted beneath it, reframing black not as emptiness, but as convergence—the gathering of every color into one kinetic whole. 

In the closing number, the red balloons returned and the ensemble assembled for an upbeat finale that echoed the wonder of the opening scene. “For me, this piece is more than just a map of getting older. It is the trajectory of how we learn to carry what we feel,â€� O’Neill says. “We begin with the raw discovery of an emotion, move into the hard work of understanding its power, and finally reach a quiet place of acceptance where those feelings truly belong to us.â€� 

The production’s scale reflected the ambition behind it. The talented design team brought the world of the story to life, including Scenic Designer Jessica Cloutier-Plasse, Sound Designer Nate Tucker, Technical Director James Williston ±Ê’28, and Production Manager Deanna Jane Stuart. The new Centennial Arts Center Kingman Support Shop made large-scale props, including the pyramid, possible, while the new theater’s catwalk system allowed for the installation of the balloons. 

Reflecting on the process, Astrid says the dancers’ shared energy helped sustain the production through months of rehearsals. “My biggest takeaway from CADP is the power of a positive mindset,� she says. “The high energy and constant enthusiasm are what fueled this production and kept it moving forward. The smiles, high-fives, snaps, and cheers that we each offered to each other created a supportive environment that I hope to find as I continue dancing in new spaces in the future.�

For O’Neill, the most powerful element of The Ballast of Iridescence was not the color or choreography, but the connection it created. “At its heart, dance is about restoration,â€� he says. “It is a unique practice because it requires us to be in this room together. I hope we find some collective healing in being here. We are all just trying to keep our balloons afloat.â€� 

Poster artwork by Bintou Sacko ’26

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91³Ô¹ÏÍø’s winter mainstage production, The Impracticality of Modern-Day Mastodons, explores what happens when the impossible becomes real. The play imagines a world in which everyone’s childhood dreams materialize overnight, while the show itself achieves a feat nearly as improbable: the creation of a full-size mastodon marionette. Together, the narrative and its design bring the extraordinary to life. 

Guest director Audrey Seraphin selected the dark comedy because she felt it spoke to the current moment. Having previously performed in the ensemble of the play at a community theater, she approached CA’s staging intent on reexamining the text through a fresh conceptual lens. 

In the play, firefighters, ballerinas, and pirates abound. The main character, Jess, however, fulfills her more unconventional ambition of becoming a mastodon. The collapse of conventional social systems creates chaos, but also space for reinvention. “The end of the world as we know it doesn’t necessarily have to be a bad thing,â€� Seraphin says. 

While the play grapples with societal upheaval, Seraphin ultimately describes it as hopeful, with characters pivoting to adapt to their new environment. Jess, for instance, uses her trunk to paint and create bold, statement-making artwork. 

The production itself also adapted to its new home in the Centennial Arts Center. The concept originated with Technical Director James Wiliston ±Ê’28, who utilized the Kingman Support Shop to create the puppet.

 â€œAs I researched how the production has been done in the past, reading through the play and thinking about our space, the unique configuration of our catwalk system, the idea just came to me. I have always loved marionettes.â€� Williston says. “It has truly been a joy to work on.â€� 

The marionette embodies Jess, whose physical presence anchors the play’s exploration of identity. Six technical theater students operate it from the Hammett Ory Theater’s catwalks. Two students move the mastodon from right to left, while the other four operate the head and legs, and the actress playing Jess often operates the trunk.

Seraphin has worked closely with performers and puppeteers to determine how subtle adjustments to the marionette’s string tension, posture, and position might communicate frustration, excitement, or resolve. The complex mastodon structure is offset by a simple set, utilizing projections to provide a sense of place. 

Ensemble members developed their own impractical personas from pirates to princesses, collaborating with the costume team to shape character choice. Seraphin praised CA students as “really smart, responsible, and willing to take risks.â€� Rather than defining every detail, she “offers a loose outlineâ€� and lets students “color in the rest,â€� fostering a rehearsal room grounded in creative ownership. 

Seraphin emphasized that at its core, the play is about resilience. She hopes audiences will leave the performance with an appreciation for how theater can make space for the unimaginable, as well as an understanding that “It’s okay to be dreaming of something bigger and better and to come into your own on your own timeline.â€� 

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Community

CA community members reaffirmed our shared commitment to common trust.

• April 19 marked the 250th anniversary of the battles of Concord and Lexington. CA sponsored the special occasion, and CA students celebrated by doing original artwork and historical research commemorating the event. 
• In May, construction of the new 37,000 square foot Centennial Arts Center (C.A.C.) was completed. The innovative space has provided ample new opportunities for student creativity and collaboration.
• Commencement on May 30 celebrated the accomplishments of graduating students. Former CA science faculty member Max Hall served as the Commencement speaker and encouraged students to “delight in the hard work of becoming.â€� 
• June 6–8, Reunion and Alum Weekend brought together over 200 alums for three days of celebration and connection in the C.A.C., around campus, and around town.
• The new school year began on September 2 with Convocation, where this year’s convocation speaker, counselor Jeff Desjarlais, spoke about the importance of togetherness.
• More than 400 families joined us for Family Weekend, experiencing student classes and performances firsthand.

Love of Learning

A love of learning drives every part of life at CA.

• Last winter, students in science teacher Brad Moriarty’s Topics in Engineering course constructed cantilevers that demonstrated their understanding of structural integrity.
• In late February and early March, all ninth grade CA English classes traveled to see a new adaptation of The Odyssey at the American Repertory Theater, comparing and contrasting the performance with their reading of the classic text. 
• In November, history teacher Topi Dasgupta P’22 ’25 and her Making of Modern India class participated in a documentary film screening about Mahatma Gandhi as part of the United Nations’ Second World Summit for Social Development. Students provided feedback that was included in the U.N.’s official documentation.
• Doreen Young English Department Chair Sabrina Sadique’s British Romantic Poetry Class created inventive original artworks inspired by their close reading of poetry by Keats and Coleridge. 
• Throughout the year, CA’s Strive workshop series provided space for student- and staff-led conversations about culture and identity.

Arts and Athletics

CA student-athletes and artists honed their craft.

• February 20–22, CA Performing Arts presented the winter mainstage musical Chicago, a timeless story that first graced CA’s stage in 2010. 
• CA Athletics celebrated successful winter and spring seasons, highlighted by a victory over Bancroft School in the fourth annual Spring Cup rivalry event.
• November 7–9, CA debuted its first mainstage musical, The Prom, in the Hammett Ory Theater, performing to sold-out audiences. 
• Fall was another dynamic season for Athletics, culminating in a Chandler Bowl victory and a strong showing in the Eastern Independent League and New England Preparatory School Athletic Council competitions.

Heard on Campus

Assembly speakers inspired curiosity and expanded our thinking.

• On February 28, Hall Fellow Adam Geer ’99 took the stage in the P.A.C. to share his work as Philadelphia’s first chief public safety officer and his collaborations with community partners to strengthen neighborhoods. “Organizations that are more diverse, in all the ways you can think of diversity, perform better,â€� he shared.
• On April 28, Leslie Taylor Davol ’87 and Sam Davol ’88 were awarded the Joan Shaw Herman Award for distinguished service for their nonprofit Street Lab, which transforms city streets through inventive pop-up spaces. 
• On October 15, the Prison Justice Project hosted its annual Wrongful Conviction Day assembly featuring presenters Lisa Kavanaugh P’22 ’25, director of the CPCS Innocence Program for the Massachusetts Public Defenders Office, and exonerees Sean Graham and Steven Pina, who shared their stories and called for criminal justice reform. 
• On December 5, the 2025–26 Hall Fellow Rayner Ramirez ’88 visited campus. The Emmy Award–winning journalist and co-founder of Tilt Shift Media shared his passion for documentary filmmaking.

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The school’s long-awaited new space will open its doors for The Prom, a musical that fuses humor, heart, and a powerful message of inclusion. Sold-out performances run Friday and Saturday, November 7 and 8, and Sunday, November 9.

The show follows a group of Broadway personalities who descend upon a small Indiana town after learning that high school student Emma has been banned from bringing her girlfriend Alyssa to prom. The stars rally around the teens, regardless of the teens’ desire for the support, and ignite a community movement that celebrates acceptance and authenticity.

The director, CA theater teacher Shelley Bolman P’27, chose The Prom for its relevance to students today. “As our mission statement says, we are striving for equity, and that striving implies an ongoing struggle that is never over,â€� Bolman says. “We wanted to tell Emma’s story honestly and show the real impact that prejudice has, especially on a teen, and the courage that is required to stand up to it.â€� 

From the outset, Bolman and the students have been driven by a shared sense of purpose. “At the first rehearsal, I asked the cast and crew why we were doing this show, and they responded immediately, noting how important it was to be addressing The Prom’s theme in our school and in our current political climate,â€� Bolman says. “Because they are connected to the story, they are invested in the rehearsal process and supportive of their peers. It’s been a joy to work with them.â€� 

Linda Coyne Lloyd Performing Arts Department Chair Michael Bennett serves as musical director for The Prom, helping students push their artistic boundaries. “The score is an eclectic mix of styles, rooted in contemporary musical theater but with lots of nods to traditional Broadway,â€� Bennett says. 

The C.A.C. has completely redefined the production process. With large rehearsal spaces located in close proximity, multiple scenes and songs can be rehearsed simultaneously. State-of-the-art systems have expanded the creative possibilities.

“The technical improvements of the new space are innumerable,  allowing us to do things we have really never done before in terms of scenery, lighting, and sound,â€� Bennett says. “Additionally, having a proper green room and dressing rooms makes things so much easier during tech and performances. Sightlines and sound will also be better for the audience, so it’s really a complete transformation of the theater experience at CA.â€� 

CA dance teacher and choreographer Patrick John O’Neill brought the show’s movement to life in the new space. “My vision for this year’s show strives for a blend of contemporary movement, influenced by trends seen on social media and in mainstream media, with the elegance and style of classical musical theater,â€� he says. “I want it to feel fresh and exciting while still evoking a sense of nostalgia.â€� 

O’Neill shares that he typically starts the process by immersing himself in the music to understand its essence, then visualizes the movements. He adapts the choreography based on the style and energy of the performers. “The discipline and dedication of the cast and crew consistently amaze me,� he says.

While the musical is filled with energetic and heartfelt numbers, the grand finale, “It’s Time to Dance,â€� stands out as a highlight. “It’s a full-on celebration—a real party! It’s also the most challenging dance in the show,â€� O’Neill says. “The cast has to be fully engaged, not just with their own movements, but with their partners as well. The connection between the dancers is electric, and you can feel the joy radiating from everyone.â€� 

The Prom is a vibrant expression of how performers use the arts to tell stories that resonate far beyond the stage.

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Director of the Chamber and Orchestral Program Andra Dix describes the program as transformative: “When students participate in the district festivals, I am always impressed by their growth—both musically and personally. It’s incredibly fulfilling to see them realize that all their hard work, dedication, and countless hours of practice have led them to this moment. They gain confidence and feel immense pride as musicians.�

Thousands of students apply for the opportunity to perform at the festival, and CA was well-represented. Milo DuBois ’28 and Lena Sillman ’28 were selected for the festival band, and Alfred Bull ’28, Theo Kelman ’28, and Sophie Qiao ’28 performed in the orchestra. 

Building on this moment, another MMEA event took place on March 27 at the DCU Center in Worcester, Mass., the Contemporary Creators Festival. The event spotlighted student composers and musicians who are pushing the boundaries of contemporary music styles. 

Among the performers, CA’s Vocal Jazz and Pop Ensemble took center stage during the Spotlight Concert with Sturgis East School from Hyannis, Mass. The day also included the Contemporary Composers Forum, where Andrew Wood-Sue Wing ’25 showcased an original composition. 

Jazz Ensemble Director Christopher Gagne shared his enthusiasm for the program: “It turned into a collaborative experience between the two groups. We shared equipment and had time to connect about music before and after the performance. The concert went great, and the group got nothing but positive feedback! Members of both ensembles were so invested and genuinely rooting for everyone to play their best—it created a positive energy.â€� 

Another major highlight was May Zheng ’26’s opportunity to perform with the MMEA All-State Chorus at Symphony Hall in Boston on March 23—an unforgettable moment for the young vocalist. “The passion and artistry of these exceptionally talented singers was breathtaking,� Dix shares.

The series of MMEA events underscored the commitment of CA student musicians. “Watching them collaborate with other talented performers and rise to the challenge of a high-level performance is truly inspiring,â€� Dix says. 

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Then and Now: The 2010 and 2025 CA productions of Chicago. 

From February 20 through 22, 91³Ô¹ÏÍø audiences were dazzled by performances of Chicago. The jazz-infused musical set against the high-energy world of the Roaring ’20s was directed by theater teacher Shelley Bolman P’27, with musical direction by Performing Arts Department Head Michael Bennett and choreography by dance teacher Patrick John O’Neill. 

Chicago tells the story of Roxie Hart and Velma Kelly, two vaudeville performers navigating public trials who blur the line between truth and spectacle. Bolman draws striking parallels between that era and today’s society. “In Chicago, all the world’s a stage, and justice is merely a performance,� Bolman says. “Success here is not defined by virtue but by the power to control the narrative.�

This fall, CA also presented Radium Girls, a play that documents the lives of watch dial painters who, facing health impairments, fight for fair working conditions. Bolman notes, “Michael Bennett and I chose the season together, focusing on corruption, justice, and the intersection of law and media—both plays set in the 1920s. In this age of disinformation, the pairing felt especially relevant.�

The Chicago cast delivered powerful performances, and Bolman highlighted their commitment throughout the rehearsals. “It was a real pleasure to work with so many talented actors, singers, dancers, and tech crew members to bring the story to life,â€� he said. “The most rewarding part of this experience was seeing the students’ commitment to the process.â€� 

Chicago featured dual casting for leading roles, with each actor bringing a unique perspective to their character. The entire cast shined, showcasing their incredible acting, commanding voices, and comedic timing. The crew’s dedication to the staging elevated the production.

Bolman worked closely with the design team, including sound, costume, scenic, lighting, and prop designers, to ensure every element supported the story. The production’s aesthetic blended contemporary and nostalgic elements. Flapper dresses, traditionally designed in muted colors, were fashioned in jewel tones by costume designer Elizabeth Rocha, adding a modern splash of color to the musical.

Performing Arts Department Manager Jessica Cloutier-Plasse’s set design featured a multitiered stage with an Art Deco archway and golden curtains, creating a lavish backdrop to the drama. O’Neill reimagined Bob Fosse’s iconic moves while collaborating with the Dance Project to infuse the production with dynamic new energy. Bennett’s bustling jazz direction kept the tempo, leaving the audience humming along. 

Chicago first graced the CA stage in 2010, and the February 22 performance marked a special moment for alums who had the chance to visit to watch the show and take a behind-the-scenes tour of the new Centennial Arts Center. Keith Daniel, the musical director of the 2010 production and longtime former CA faculty member, also returned to reminisce on the show.

This performance capped an expectant moment in CA’s history, as it was the final mainstage production in the Performing Arts Center. The next one will take place in the new Centennial Arts Center this fall. Chicago was a full-circle experience for both cast and audience alike, a reflection of the school’s tradition of creative collaboration. As the curtain falls on one era and rises on the next, the future of CA’s performing arts program shines brighter than ever. 

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Community

CA students, faculty, and staff celebrated our commitment to common trust. 

• June 7–9, Reunion Weekend, brought nearly 200 alums from all generations back to campus. Hands-on programming offered opportunities for graduates to reconnect.
• The 2024–25 school year began on September 3 with Convocation. Don Kingman, director of campus planning, design, and construction, gave a powerful speech that underscored the importance of community. 
• On September 26, CA honored Mandarin teacher Wenjun Kuai P’27, holder of the 2021–2024 Hammer Chair, who shared her research on cultural, ethnic, and linguistic diversity in Chinese-speaking regions in Asia.
• Family Weekend, October 25–26, welcomed over 500 guests, giving parents a glimpse into the innovative teaching and learning that happens at CA.

Love of Learning

At CA, a love of learning animates everything we do.

• A new interdisciplinary history of Mexico class, created by Modern and Classical Languages Department Head Carmen Welton and history teacher Jeffrey Richey, integrated Spanish language, culture, and history instruction both in the classroom and on a cultural trip.
• In April, students in Kim Frederick’s U.S.: Public History: Tour Guide course created educational displays for the Concord Museum’s What Makes History? special exhibition.
• CA’s sixth feature film project, Cassie Crowe’s Mid Life, debuted in May. This surrealist comedy, led by Visual Arts Department Head Justin Bull P’25 ’28 and Computer Science Department Head Ben Stumpf ’88, showcased the creativity of student filmmakers.
• Will Tucker, head of CA’s Science Department, aimed to demystify science education by writing two open-access textbooks on general and organic chemistry. The texts, edited by a CA student Jake Klineman ’25, were published by Taylor & Francis in the summer of 2024.

Arts and Athletics

From the field to the stage, CA students put in their all.

• Spring and fall student-athletes enjoyed successful seasons, with strong performances at Eastern Independent League (EIL) and New England Preparatory School Athletic Council (NEPSAC) tournaments. 
• On October 19, the fall sports teams won the 2024 Chandler Bowl for Changing Lives rivalry event against Pingree, 6–4, marking CA’s seventh win in the past eight years. Sports teams also claimed the Spring Cup victory this past April. 
• The fall mainstage production of Radium Girls illuminated the Performing Arts Center during three performances over Family Weekend, highlighting social justice issues. Last winter’s production of Twelfth Night thrilled audiences with a contemporary musical twist on Shakespeare’s classic.
• CA Dance Project’s ³¾±ð³Ù·²¹Â·³¾´Ç°ù·±è³ó´Ç·²õ¾±²õ performances on November 8 and 9 celebrated change through movement.
• The spring art show in the Ransome Room inspired audiences with a diverse range of works, from photographs to paintings.

Heard on Campus

Assembly speakers brought new perspectives to our campus.

• Actor and filmmaker Caitlin FitzGerald ’02 was named the 2024 Hall Fellow on April 19 and shared her journey in the entertainment industry with students, faculty, and staff. 
• On May 10, CA honored Pulitzer-Prize-winning journalist Richard Read ’75 with the 2024 Joan Shaw Herman Award for his groundbreaking work in investigative writing. 
• CA welcomed Aaron Golub, the first legally blind athlete to play football in a Division 1 game, on November 15. Through sharing his life story, he encouraged a shift in perspective on how we face obstacles and what they can teach us.
• On December 4, Asma Khalid, White House correspondent for NPR, ABC contributor, and co-host of The NPR Politics Podcast, delivered an assembly in which she discussed identity politics.

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Curated by club co-heads Lyla Brooks ’25, Jacob Himelfarb ’26, and Izzy Wood ’25, the exhibition featured a diverse range of works, from painting and drawing to experiential poetry and installation art. 

The concept for Across The Wall grew from Wood’s desire to ignite a conversation about mass incarceration, especially after the closure of the nearby MCI-Concord state prison. 

While taking a ceramics course, Izzy realized art could serve as a powerful bridge between students and those experiencing incarceration. In partnership with her parent, who is a criminal defense attorney, she connected with local prisons. She says, “In talking to a few incarcerated individuals to gauge interest in a showcase like this, I was surprised to find that not only were people willing to submit but eager for an opportunity to be heard.�

At the exhibition reception, students had a chance to write personal notes to the incarcerated artists and share what the works evoked for them. It was also a moment to reflect on the striking juxtapositions on display.

Incarcerated artist Angel Rivera shared an evocative black-and-white pencil portrait of a woman’s face. He reflected, “Art makes me feel alive like I am sharing a piece of myself with others.� In a similar vein, CA student Ava Khabbaz ’25 presented a black-and-white photographic portrait of two children. She explained, “I created this photo using a film camera because it captures the essence of innocence and the complexity of our ever-changing, fast-paced world.�

About her poem “On Mother Nature,� club co-head Lyla said, “For me, writing poems is about expressing emotions. It’s an escape from the world into my innermost spaces.� Incarcerated artist Randall Trapp shared a poem, “Yellow Butterfly,� in which he similarly explores the power of self-expression and the natural world.

By providing a platform for incarcerated artists, Across The Wall offered a space for artistic exchange and challenged preconceived notions about the incarcerated community. Izzy says, “My sincere hope is that this exhibit was transformative for those who experienced it, forever opening their eyes to the humanity of those behind bars.�

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O’Neill began by asking CA dancers to reflect on a transformative experience and create movements expressing their personal metamorphoses. He then incorporated these gestures into the larger choreography. “So much can be learned from watching a person’s process as they create and generate movement,� O’Neill says. “I then took their creations and rearranged, built, and deconstructed them, fitting them into the movement I created. The entire piece is a reflection of the dancers and their journeys, linked to and sitting side by side with my own.�

In ³¾±ð³Ù·²¹Â·³¾´Ç°ù·±è³ó´Ç·²õ¾±²õ, the studio is transformed into a dreamscape, bathed in soft pink light, with white translucent fabrics hanging like delicate chrysalises, suspended from the ceiling and draped along the walls. The dancers, dressed in black, sit in a triangle formation, their arms rising and falling in slow, meditative motions, in harmony with a piano and violin melody. As the music swells, they gradually stand, their bodies weaving through hypnotic movements, creating flowing chains of interconnected motion. 

As the music intensifies, the dancers’ speed quickens, and their bodies rise as they lift each other in moments of collective ascent. Their clothing subtly changes, from dark to light, symbolizing the shedding of one form to embrace another. The choreography plays with levels, each dancer’s movement reflecting the process of birth, growth, and renewal. As the music softens, the dancers return to their original symmetrical formation, a reminder that all of life is cyclical. 

To deepen his understanding of transformation, O’Neill looked to the natural world for inspiration. “I spent a lot of time watching time-lapse videos of plants and flowers growing or blooming, caterpillars making chrysalises and becoming butterflies, tadpoles growing into frogs,â€� he says. These videos have been incorporated into the final performance as wall projections, perfectly complementing the dance. 

 â€œChange and growth are beautiful to witness,â€� O’Neill says. “As we change and grow, we leave behind some parts of ourselves, but we gain new and exciting aspects that make us stronger and better equipped to handle the life we’ve been given.â€� 

Collaboration with 91³Ô¹ÏÍø dancers became one of O’Neill’s favorite parts of the creative process. “The students at CA are genuine and vulnerable, and getting to know every one of them has been one of my favorite things about joining the CA community,â€� he says.

As ³¾±ð³Ù·²¹Â·³¾´Ç°ù·±è³ó´Ç·²õ¾±²õ took form, O’Neill envisioned how the audience would experience the performance. “I am so honored to present this work to the CA community and I hope they will see the hard work, dedication, and discipline of all these dancers,â€� he says. “My hope is that the audience will join us on this transformative journey as we all—dancers and audience—look inward and reflect on our evolutions, both individually and as a collective.â€� ²Ñ±ð³Ù·²¹Â·³¾´Ç°ù·±è³ó´Ç·²õ¾±²õ is an invitation to embrace the resilience that emerges through change.

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