Megan Lynn
​Asterial Dance
Current Repertory
This work abstractly explores the responses that each of us have to closed jobs, relationships, dreams, etc in our lives. These opportunities are represented in the work by scenic elements, freestanding doors. There are positive ideas shown in the work, such as a wall may actually be a door or when one door closes another opens, as well as negative ideas, such as sometimes what appears to be a door is really just a wall or just not being ready for the door to open. Other responses are merely reactions to a closed door, like getting through the cracks, hoping the door will open, searching from within to open the door, changing the exterior to open the door, perpetually knocking. The piece leaves the audience to question how long is long enough to pursue a closed door before letting go and moving on?
She stood at the door and knocked.
World Premiere: Hudson Guild Theater
52 minutes
Many Americans go about their day to day lives with a false sense of invincibility. There's always a tomorrow, another chance, another opportunity to do something we want or plan to do. But, then what if we don't get it? What if one day we wake up and our world is turned upside down? A friend dies unexpectedly, a family member becomes ill, a job we counted on disappears under our nose, a home suddenly becomes a fearful place to return to. This work explores the journey of returning to a state in which we can move forward again when we lose something important and vital to our lives. Sometimes we have to go where we weren't to get back to where we were, to get to where we are.
What Was. What Wasn't. What Is. (2015)
World Premiere: Performance Garage (Philadelphia)
NYC Premiere: The Secret Theater
15 minutes
Out of Context (2014)
World Premiere: Performance Garage (Philadelphia)
NYC Premiere: DANY Studios
18 minutes
An abstract work created from the company members' personal relationships to money and their experience living and working as emerging artists in the city. Using popular love songs of the 1930's, pin up poses, and the female plight of trying to conform to a desired image by society, the true meaning of the work is completely hidden in performance.
A series of 5 unrelated dances for two people. There is no deep meaning, story, or connection within each piece and between the pieces. The pieces are purely based on movement, inspired by the musical score. The choreographic goal of each duet is to challenge the dancers both physically and technically. The challenge for each duet was based on what those particular dancers needed to develop or explore further.
A Series of Immaterial Duets (2014)
World Premiere: John Carroll Theater (Maryland).
NYC Premiere: Hudson Guild Theatre.
15 minutes
To This Well (2014)
World Premiere: John Carroll Theater (Maryland).
NYC Premiere: Hudson Guild Theatre
28 minutes
This work experiments with water as both a prop and choreographic tool. The dancers are on a journey through the desert. They face unquenchable thirst and lethargy as they continue to press forward on a search for relief. Even though there is no relief in sight, the wrestling of control between the mind and body keeps them enduring the harshest of circumstances. The dancers eventually find water and feel the inexplicable joy of feeling like they have their life back. Once full again, the dancers become more like people, who are not struggling to survive, but people who are able to impact the world.
A comedic work about everyday vehicular scenarios: parallel parking, road rage, candid moments caught on a red light camera, and jump starting cars.
Buckle Up Please! (2014)
World Premiere: John Carroll Theater (Maryland).
NYC Premiere: Hudson Guild Theatre
12 minutes
Right...Like...Um...Err...If you don't mind me saying (2013)
World/NYC Premiere: DANY Studios.
6.5 minutes
This piece is about hesitating-in both conversation and in action. We pause before saying or doing things out of uncertainty and doubt. We fear doing the wrong thing, saying the wrong words, or just making a mistake. Sometimes we fear judgement from others, so we stumble over the right words to say or course to take. But by not acting and not saying, NOTHING will happen. You might miss the opportunity! And that's almost worse isn't it? So, this piece is a little awkward because that's what hesitation is famous for creating.
Gripped (2013)
World Premiere: Meetinghouse Theater (Philadelphia Fringe Festival).
NYC Premiere: Ailey Citigroup Theater.
7 minutes
Gripped is a piece about Obsessive-compulsive disorder. OCD is generally triggered by fear and anxiety. People with this disorder use rituals/behaviors called compulsions to control upsetting thoughts called obsessions. People with cannot control the unwanted thoughts or behaviors, the rituals end up controlling them. They are not enjoyable, but necessary and temporary relief from the anxiety created by obsessive thoughts. The work explores the different aspects of the disorder: the anxious obsessions, the ritualistic behavior, the feeling of being in control, and the feeling of being out of control.
This Ride We're On (2013)
World Premiere: Meetinghouse Theater (Philadelphia Fringe Festival).
NYC Premiere: DANY Studios
6 minutes
This Ride We're On is a dedication piece to two wonderful people in my life struggling to maintain a long distance overseas relationship. The male is an older, more stable figure in the relationship. He knows what he wants and where his priorities lie. The female is a much younger. She is still trying to determine her place in the world, where she is being called and what she is being called to do. She constantly has to choose between following her head or following her heart. Hopefully, one day, both will align. 1 John 4:18
Like Shifting Shadows (2013)
World/NYC Premiere: Ailey Citigroup Theater.
20 minutes
Each of us, at one point or another in our lifespan, has faced troubles and obstacles. These difficulties are not just physical, but also emotional and spiritual. As humans we are destined to face shadows, it is inevitable. Our response to these shadows in our lives that makes us unique and either leaves us lingering in the dark or transforms us into a stronger individual. The work, Like Shifting Shadows, explores an assortment of common troubles and obstacles that humans face in the world today: loneliness, relationship tension, frustration, guilt, loss, chaos, and failure. Through the use of lamp lighting, the movement and story is meant to inspire people that there is a reason to persevere through troubled times and that we must continue to step out in faith despite the problems that fall our way. Shadows can only be physically created by light casting through the darkness, so why shouldn’t we think our emotional and spiritual shadows are generated the same way? We must not get caught up in the darkness, but keep our eye on the light: the hope, peace, and beauty that are waiting for us on the other side of the shadow.​
SEEDS OF FAITH (2012)
World/NYC Premiere: Brooklyn Music School Playhouse.
6 minutes
This work is based off of what I see as three different stages of spirituality, specifically referring to one's passion about a particular idea, thought, or dream. At first, we are scared of our idea. We keep it to ourselves. We don't share the idea because we fear failure and judgement. This is the first stage. As we become more drawn or moved by our idea. We begin to confide in others. Share our plan with those we know, and try to begin that way. We grow in confidence and boldness, our passion and mission become clearer. This is the second stage. The final stage is about boldness, confidence, and most importantly letting go. We go out and tell the world, our idea. We put "all our eggs in one basket" so to speak, despite the fact that others do judge us and failure is a possibility. It is because we believe in what we are doing and that the most important thing we can do is tell everyone what we believe.
Beyond Those Spheres (Restaged 2012)
NYC Premiere: Dixon Place.
World Premiere: 2010. Milburn Stone Theater.
6 minutes.
A Shaman, in native South American tribes, plays a similar role to that of a medicine man. The role of a Shaman is to reach an altered state of consciousness in order to connect and interact with the spiritual world. They must enter the spiritual world themselves in order to gain the knowledge and power to heal those in the physical world. Thus the Shaman is seen as an intermediary or bridge between the two worlds, often finding himself caught in the middle of both. This work looks at the relationship of the Shaman to both the physical world (Earth) and the spiritual world and the struggle to distinguish which is actually reality.