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Choreographed by Jenna Pollack 

Performed by Jim Banta, Caitlin Canty, Gisela Creus, Kelsey Saulnier, Whitney Schmanski and Jackson Jirard

Music: Sexted by Steve Reich

Performances: November 2nd and 3rd 2018 Boston Center for the Arts, Boston MA – US

A Boston Moving Arts Production produced by David Orr part of Wild Type Show

Wild Type Program

Sans Toi

Choreographer: Adam Barruch Dancers: Adam Barruch 

Music: Fratres for String Ensemble and Percussion by Arvo Part 


Choreographer: Junichi Fukuda Dancers: Junichi Fukuda, Jason Jordan, Haruka Tamura 

Music: Wind (Remix) by Michael Palace; Text Sourced from Jim Marche, Ishika, and Lorelei Gill 

Bodies of

Choreographer: Joy Davis Dancers: Alex Davis, Joy Davis 

Music: Sound created by Rob Flax; Text Sourced from Alan Lightman, Brian Swimme, Neil DeGrasse Tyson, and Margaret Wertheim 

You are not yours

Choreographer: Junichi Fukuda Dancers: Junichi Fukuda, Haruka Tamura 

Music: Transient by Kasia Kadlubowsk and Falling to Get Up by Jesse Manno; Text Catherine Stewert 


Choreographer: Jenna Pollack Dancers: Jim Banta, Caitlin Canty, Gisela Creus, 

Kelsey Saulnier, Whitney Schmanski Music: Sextet by Steve Reich 

Jenna Pollack, Choreographer

When David Orr and Boston Moving Arts Productions first commissioned this piece from me I was thrilled. . . and also a bit terrified. He asked me to bring to life the internal conflict of paying the bills and feeding the soul, the stress thrust upon the individual from “the system”. His potent choice of music, title, and themes made me – a chronic freelancer – feel, well, a bit boxed in by the system. How was I to tackle all of this in one dance? 

Thankfully, the body is a boundless archive of experience. My extraordinary collaborators brought such authentic perspectives of labor to the studio. Among many other things, Gisela is a mother, Jackson an academic, Caitlin a secret rock star, Whitney an entrepreneur, Kelsey a recent college graduate, and Jim a former stuntman and factory worker. All I truly had to do was cultivate a space in which they felt free to share their vast histories. While I may never know what’s like to hold a desk job, I believe the deeply personal struggles of our cumulative experience are visible in almost any work environment. Our trials and exaltations are like a perpetual, universal memory. 

David’s mission is larger than the office – he is connecting the ephemeral bits of our vulnerability on stage with all who choose to join us in the theater. So while there’s a lot in this machine of a dance to take in, I encourage you to simply pluck out the gestures, feelings, and relationships that resonate with you most. What from your own experience do you see reflected back at you? 

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