Past work

Perfect Day (2019) was a luxury performance experience about getting exactly what you want. It was co-created and performed by Amy Smith, Adriano Shaplin and Anita Holland

The Quiet Circus (2018-2017) was a 15-month long performance residency at the Washington Avenue Pier, created by Headlong. Audiences and participants alike were invited to engage in a single, ongoing arc of events along Philadelphia’s Schuylkill and Delaware Rivers.

Take a peek at The Quiet Circus blog, "a conversation about art was experience and as a form of thinking predicated on the agency of those who touch it."

W*LM*RT Nature Trail (2015) was a rebellious piece for one audience member at a time. Throughout this process we were interested in how the piece could break the “rules” (both explicit and implicit) that usually guide an artistic process and product.

This Town is a Mystery (2012) brought audiences to homes in Philadelphia for performances by the households and a communal dinner. Selecting four diverse Philadelphia households we created performances in each home, performed by the household (no professional performers). Audience members traveled to a Philadelphia neighborhood, one perhaps geographically and culturally far from their own. The residents perform their piece, blending stories of neighborhood, the home, and their lives. Afterwards, the performers and audience share a potluck dinner.

A Philadelphia Live Arts Festival Premiere.

Warp and Weft (2012) was a body installation inside the Sheila Hicks retrospective at the ICA.

Desire (2012) was Headlong's homage to community two decades after the company's founding. Reflecting on the legacy of the Pet Shop Boys, Headlong asked: had they become too comfortable with their artistic process? Or were they not as comfortable as they thought they’d be by now?

Red Rovers (2011), a collaboration with visual artist Chris Doyle, used the true story of the Mars Rovers to explore an audience's landing in live performance.

More (2009) was the result of an investigation inspired by choreographer Tere O'Connor. In More, Headlong imagined a dance of our bodies after our bodies have gone away.

Explanatorium (2009) embraced semi-choreographed movements for the audience – forming a giant ring in the vast, circular Rotunda space, and walking along a labyrinthine path – in a look at the supernatural and unexplainable.

Universal Humanoids (2009) was funky and fresh reunion of six early Headlong collaborators.

Hippie Elegy (2006) mined remembered and researched histories of the 1960s and 70s to interrogate the politics of the early aughts.

Shosha (2006) was a dance piece inspired by a Warsaw story, hailed by The Boston Globe as "striking and unforgettable."

Cell (2006) was a performance journey through city streets and abandoned buildings---a collaboration with ctechnology artists Jennifer and Kevin McCoy, to create an experience that is sometimes paranoia-inducing, sometimes warm and fuzzy, and always intense.

Hotel Pool (2004), runaway hit at its Philadelphia Live Arts Festival premiere, transformed the sanitized space of a hotel swimming pool into a site for dreams, longing, and epiphany.

Subirdia (2002) was an exploration of suburban and avian life.

Story of a Panic (2001) explored the choreography of fear in voice and pace.

St*r W*rs (1998) was an irreverent break-out piece from Headlong, recognized with a Bessie award in 1999.