Josie Steinmetz

GHDT ‘Casket Girls’ dance again

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By John Lyle Belden

Though shrouded in myth, the story of the “Casket Girls” is true*. In the 1720s, by order of King Louis IV of France at the urging of the Church, young women were sent to new Gulf Coast colonies to be wives to the men there in hopes of keeping them civilized and Christian.

These filles a la cassette (girls with suitcases) were eventually referred to with the word casquette, which conjured the more popular term. They were pale and delicate, it was said, sensitive to the sun and, perhaps, the magical spirit of New Orleans.

Gregory Hancock Dance Theatre has revived its production that tells the legend with “modern gothic vampire” flair, featuring original music by Cory Gabel. Choreography and costumes are again by Gregory Glade Hancock, with lighting by Ryan Koharchik.

This modern-dance ballet centers on the character of Catherine (Abigail Lessaris), a Casket Girl who lives with the Sisters of St. Ursula until she finds her beau, Jean (guest dancer Cody Miley). But supernatural forces strike, changing her forever.

The second act brings the undead Catherine back to New Orleans a century later, finding an ally in voodoo priestess Mother Ava May (Olivia Payton) and love with sweet Saraphine (Josie Moody). But evil Lucien (Thomas Mason) wants to rule the city, and if Catherine doesn’t join him, he knows the Casket Girl now has something to lose.

Dancers also include Nathalie Boyle, David Elser, Fiadh Flynn, Sophie Jones, Zoe Maish, Vivien Mickels, Hazel Moore, Audrey Springer, Josie Steinmetz, and Lucy Grontkowski of The Conservatory of Dance at Granger, Ind., with guest vocalist Tessa Gibbons.

Stunning and beautiful throughout, the music and movement embrace a dark atmosphere evoking the works of Anne Rice and the goth-punk aesthetic of the World of Darkness roleplaying games. Gabel, in close collaboration with Hancock, brings a Nine-Inch-Nails-esque percussion to the score, giving a relentless beat to the characters’ stilled and breaking hearts.

A unique danse macabre for this spooky season, “The Casket Girls” have just one performance remaining, 5 p.m. today (Oct. 25) as I post this, at The Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Watch for this production to likely return in coming years.

With this, GHDT opens its 28th season. Next up is its next improvised collaboration in the “Melange” series on Nov. 15-16 as Mickels dances while vocalist Jessica Hawkins sings and Madhuchhanda Mandal creates a visual work of art. The full company celebrates the Holidays with Winterfest on Dec. 4-7 and 11-14. These performances will be at The Florence performance space at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Dr., Carmel.

Full information and tickets at gregoryhancockdancetheatre.org.

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(*History and legend of the Casket Girls at NewOrleans.com)

GHDT finishes season strong; watch for more

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By John Lyle Belden

This evening (June 7) Gregory Hancock Dance Theatre concludes its 27th season with bold works for “Summer Solstice.”

According to my quick websearch, earth.com notes the Solstice (longest day of the year, coming in just two weeks) is celebrated by many spiritual traditions, important for “setting an intention” for the coming months. With this weekend’s program, Gregory Glade Hancock and his talented dancers show their continued willingness to expand the use of movement to communicate feelings and stories.

In the world-premiere of “Let It Be Known,” poet Bruce Ford delivers a long monologue of hip-hop style verse that speaks to struggle and aspiration that draws on his Black experience and hope for humanity. As he speaks, dancers Thomas Mason, Sophie Jones, Abigail Lessaris, Josie Moody, Cordelia Newton, Olivia Payton, and Audrey Springer reflect and illuminate his words. Together, they make the “music” that we feel – no background song is played or necessary. Ryan Koharchik’s exceptional (as always) lighting design comes into play here with precise use of spotlights.

Another premiere is “Journey to Freedom,” a series of dances evoking the pain of a nation’s people being invaded, occupied, and displaced, as well as their bravery to overcome. The focus is on Eastern Europe, which Hancock is personally familiar with, including recent travels. The pieces honor Latvia, where residents once kept a secret “national anthem;” Poland, once invaded on two fronts attempting to erase if from the map; and, Ukraine, where their struggle continues today. The movement is strong and evocative, to music ranging from traditional to contemporary, as well as sublime work by Polish composer Frederic Chopin (a beautiful solo by Moody). The principal dancers are joined by summer interns Nathalie Boyle, Gwynevere Deterding, Tasha Sterns-Clemons, and Izzy Wolf, with Academy of GHDT student Hazel Moore appearing as the “flower girl.”

After the intermission, the mood shifts from the very serious to the exceedingly strange with an abridged version of Hancock’s 2006 “Alice and Her Bizarre Adventures in Wonderland,” envisioning Lewis Carrol’s classic story through a warped punk-Goth lens – as if to wonder, what would frighten yet enthrall a young girl today? Springer is our title character, bringing us with her down the rabbit hole to meet a fascinating edging on nightmarish cast. Highlights include Payton as the Cheshire Cat, Mason as the Caterpillar, Lessaris as the Duchess, Newton as the Mouse, Moody as Queen of Hearts, and Jones as the Mock Turtle. All the dancers are in Wonderland, including students Moore, Fiadh Flynn, Penelope Lomax, Josie Steinmetz, and Megan Webb.

As for the dance sequences, Hancock said he was once asked, “if you choreograph this while awake, what are your nightmares like?” It says something about our tastes, I guess, but we were thrilled, with Wendy hoping to see the full show staged again someday.

What we know will happen is the upcoming 28th season. It kicks off with the “Fashion at the Florence” fundraiser on Sept. 13 at 329 Gradle Drive, Carmel. Dance programs feature the return of “The Casket Girls” in October, “Exodus” in March 2026 and “Antony and Cleopatra” the following June. There will also be “Melange” presentations of improvised dance and art with guest vocalists the weekends of Sept. 20 and Nov. 15, as well as March 14 and May 16, 2026.

For all the details – and tickets to today’s 5 p.m. performance at The Tarkington stage of the Allied Solutions Center for the Performing Arts in Carmel, if you see this right after it’s posted – visit gregoryhancockdancetheatre.org.  

Cajun celebration with GHDT

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By John Lyle Belden

While the parties are rolling out in New Orleans – starting with a Super game and parading towards Mardi Gras – Gregory Hancock Dance Theatre indulges in some big fun “Down on the Bayou.”

Gregory Glade Hancock dusts off a couple of past works with the feel of southern Louisiana culture, starting with the title sequence. It kicks off with the Hank Williams Sr. hit, which the dancers take to with joyous energy, like a hot night on Bourbon Street. An eclectic mix follows, with various rhythms. Being the lone principal male dancer, Thomas Mason gets a huge workout, including pairing with Abigail Lessaris and Olivia Payton, and even a solo. Also we see the talents of Josie Moody, Audrey Springer, and new members Sophie Jones and Cordelia Newton.

A couple of numbers showcase the young students of the Academy of Gregory Hancock Dance Theatre: Abigail Arboleda, Arden Brothers, Fiadh Flynn, Penelope Lomax, Hazel Moore, Josie Steinmetz, Megan Webb, and Britteny Zhang. They already show great poise and potential.

The main company gets their mojo working with “Papa Legba,” featuring Mason as the titular Vodun character, as well as Newton, Springer, and Moody, before the others join in. Atmosphere (including lighting designed by Mason) and Hancock’s costuming contribute to this piece’s mystical feel.

The second half of the program brings out Hancock’s knack for visual storytelling with “Why Look at That Moon,” set to a series of songs by celebrated Louisiana-born songwriter Victoria Williams. Her unique voice and country-folk style provide the canvas on which the dancers bring forth movement suggesting the “Boogieman,” the woman at the “Clothesline,” the “Wobbling” bird, and even old “Tarbelly and Featherfoot.” Featured dancers include Lessaris, Moody, and Newton, and there is a sweet pas de deux with Mason and Jones to “Can’t Cry Hard Enough.”  

A celebratory and sensational program of dance, we have two weekends left “Down on the Bayou,” through Feb. 23 at The Florence at the Academy of GHDT, 329 Gradle Drive, Carmel. Get info and tickets at gregoryhancockdancetheatre.org.