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What We Hold

Lights go up on three dancers who sit side by side on the floor in a far corner of the stage, legs outstretched, soles of their bare feet delightfully exposed. Siblings posing for a photo in the backyard? It’s a brief look, like a flashback. The stage goes black, and once the music starts (Mendelssohn’s “Songs Without Words”), the three make their official entrances for “Trio” by Peter Stathos, first performed in 1985 by Stathos himself, along with Gerri Houlihan and Susan Rose. The dancers race about, holding hands as they wind around one another, making a series of human knots.

Performance

Peter Stathas Dance: “Trio” by Peter Stathos / “What Practice Makes” by Marta Renzi / “In Your Dreams” by Gerri Houlihan

Place

Mark Morris Dance Center, New York, NY February 13, 2026

Words

Karen Hildebrand

Joshua Dutton-Reaver and Caitlin Dutton-Reaver in Gerri Houlihan's “In Your Dreams.” Photograph by Maria Baranova

“What We Hold” is a reunion performance for a trio of choreographers—Stathas, Gerri Houlihan, and Marta Renzi—who came to know each other early in their careers. In addition to a long performance career, Houlihan is known as a respected educator and former dean of the American Dance Festival. Renzi ventured into award winning video and filmmaking. Stathas has recently formed Peter Stathas Dance after 30 years away from dance, when he directed a physical therapy practice. His company of four is featured tonight, along with two guest artists. The evening also honors Liz Thompson, who nurtured many artists as director of Jacob’s Pillow Dance Festival from 1980 to 1990. 

There’s an innocence that comes through in Stathas’ “Trio.” About trust and connection, the dance explores a dynamic between three siblings—or, perhaps friends?—as they encounter quotidian ups and downs of their relationship. There is a section where dancers Ty Graynor and Lauren Twomley argue while Paulina Meneses takes a solo, adjacent to them. Later, Twomley pushes Graynor away and bonds with Meneses. The turns and jumps are old school modern dance, conducted with precision, arms in a balletic arc overhead. 

In Renzi’s “What Practice Makes” (1983), four dancers warm up and rehearse in the studio. They greet each other with hugs, and set about developing and learning steps and phrases. A bit of competition flares between then, but it’s all for the sake of the work. Graynor pats his thigh to signal he’s ready to catch a flying leap, then tussles Twomley’s hair after she lands it. When a complex lift isn’t quite happening, the group abandons it to work on a unison section. They come back to the lift, and this time it works. Congratulations all around. This is a charming look into the daily life of dancers, accompanied by a Beethoven string quartet.

From left: Paulina Meneses, Mariah Gravelin, Ty Graynor, Lauren Twomley in Marta Renzi's “What Practice Makes.” Photograph by Maria Baranova

From left: Paulina Meneses, Mariah Gravelin, Ty Graynor, Lauren Twomley in Marta Renzi's “What Practice Makes.” Photograph by Maria Baranova

Houlihan’s “In Your Dreams” (1994), is the work that I continue to think about days after the show. The duet, performed by guest artists Caitlin and Joshua Dutton-Reaver, is a quiet character study. Dressed in matching trousers, they depict a symbiotic relationship. Judging by the tenderness expressed, the relationship is one of caregiving or nurturance. As the two enter, Joshua is behind Caitlin, moving her limbs as if she can’t walk on her own. He carries her to a bench where she begins a seated dance. He mirrors her from a distance. Or is he monitoring? The dance stretches into fuller lyric movements, and in the end, the two return together to the bench and embrace. The final move is a subtle surprise: he softly removes her hand from his knee, signaling that she’s ready to be on her own. She responds with a questioning look. 

These works remind me of a simpler time. Composed in the same tonal register, they feel polite. The pacing takes its time. Even the music (piano and string quartet) is similar. The dancers perform beautifully with precision and nuance. And yet, there’s a notable absence of tension and variety. 

The final work of the evening, “Assuage” (2018), a duet Stathas created for his new company, delivers more of the electrical charge I’ve missed up to this point. Performed by Twomley and Graynor to Arvo Part’s minimalist “Tabula Rasa,” the dancers walk on their knees and form angular shapes. Their partnering has a rough push and pull. He grabs her hand and won’t let go. She yanks his arm while lodging a foot to his thigh for leverage. The force they generate sends them into a spin. They meet in an angry embrace. In the end, she shrugs him off and struts away on her own. I look forward to seeing more of Peter Stathas Dance.

 

Karen Hildebrand


Karen Hildebrand is former editorial director for Dance Magazine and served as editor in chief for Dance Teacher for a decade. An advocate for dance education, she was honored with the Dance Teacher Award in 2020. She follows in the tradition of dance writers who are also poets (Edwin Denby, Jack Anderson), with poetry published in many literary journals and in her book, Crossing Pleasure Avenue (Indolent Books). She holds an MFA from the Program for Writers at Warren Wilson College. Originally from Colorado, she lives in Brooklyn.

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