KDance Shorts, Eighth Edition

A Dance-Theater Review by Julinda D. Lewis

Presented by: KDance, the Resident Dance Company at The Firehouse Theatre

At: The Firehouse Theatre, 1609 West Broad St., Richmond, RVA 23220

Performances: November 7-9, 2021

Ticket Prices: $25

Info: (804) 355-2001 or

After eight years of presenting the annual Shorts program, Kaye Weinstein Gary still has new tricks up her sleeve. This year’s program, MOVING MONOLOGUES, was a collaboration between Gary (choreographer, director, performer), Adam Turck (actor), and Irene Ziegler (playwright). While previous Shorts programs have been marked by innovative storytelling combined with movement, this is the first time the stories were all connected.

What a treat it was to reconnect with Kitty, the potty-mouthed fourth-grader introduced by Gary in her most recent YES! Dance Festival (April 2021, Here, Ziegler has written additional monologues that introduce Kitty’s mother, grandmother, and dad, all of whom are embodied by Gary and Turck, after a brief introductory warm-up set to Erik Satie’s Piano Works #7, Nocturne II. The “Prologue” also introduces the program’s main prop: a pair of crystal clear “ghost” chairs that magically reflect and refract the light and create stunning visual effects.

“Thank you, sensei, for showing me the way.”


“Kitty” has been enhanced to point to connections with the new monologues. Against a background of Ana Roxanne’s non-melodic, ambient soundscape (it sounds like what your mind would sound like if you could record the sound), Kitty moves through postures of dejection and defiance – until she discovers the “superpower” of her imagination. “I have a superpower. Holy shit!” Oh, I did mention she’s been sent to her room because of her vocabulary, didn’t I? Dressed in purple leggings and white coverall shorts, Gary delightfully embodies the spirit of the fourth-grader.

But it just keeps getting better. Next up is Adam Turck as Kitty’s dad, Rodney. Dressed in shorts and carrying a gym bag, Turck, drops the bag just as the beat drops, and it’s MC Hammer’s Too Legit to Quit. Turck, a real-life certified personal trainer, moves through the paces of a man-twerk, slaps himself on the butt, and begins to record a hilariously awkward online dating profile.

“The best you can hope for is to find someone

whose baggage doesn’t clash with yours.”


After a bit of shadow play with a fabric veil, we get to meet Martha, Rodney’s mother. It isn’t clear whether she is in the early stages of dementia, or just lonely. When she receives a package from an unseen delivery man (a potential fourth character for a potential sequel) she drags out their interaction as long as possible. “Can you see me?” Martha asks. “I thought I was made of vapor.” Martha smells like loneliness and goes on eBay at night to order hope. Oh, and that package? It contained the cremated remains of her late husband.

The final monologue in this iteration of Moving Monologues has Rodney talking to his dad’s ashes and returning to the lake house where he spent time with his family when his father was alive, and his mother didn’t feel invisible. Is it just coincidence that the current occupant of the house is named Manny – the same as the delivery guy? The door has been left open to continue this series, much like a serial novel in words and movement.

Ziegler’s script make no direct mention of the pandemic, but Martha’s need to know that she exists feels very much like post-traumatic pandemic syndrome (I don’t know if that’s a real thing or not, but there is such a thing as Pandemic-related PTSD). It’s actually quite remarkable to watch Gary transform from the hopefulness of Kitty to the giddy despair of Martha. She does both so well, adapting her posture and movement dynamics to the character. The words and the movements are measured out teasingly, revealing just enough to keep the narrative flowing, but not enough to answer all our questions. A post-show discussion revealed just how much latitude there was for personal interpretation.

There were so many layers in this short piece, and multiple perspectives played out simultaneously – the same story told by different characters who are all connected. There was a through line, but the sections were not necessarily linear or chronological. In fact, I would be curious to see what would happen if these same five scenes were performed in a different order.

As for the cast, Gary is a dancer who is extremely comfortable with speaking and acting, and it was great to see Turck, an actor, moving with such abandon. MOVING MONOLOGUES is not fully dance and not fully theater but a hybrid niche that Gary claims as her own. While the piece could be performed by a cast of four (Kitty, Martha, Rodney, and Manny – or the Ghost Chair), I think it’s highly effective and serves the multi-layered effect to have it performed by just two. It was such a delight to see and hear these stories on stage, in person. Sometimes less really is more.


Written by: Irene Ziegler


Kaye Weinstein Gary

Adam Turk

Production Team:

K Dance Artistic Director: Kaye Weinstein Gary

Lighting Designer/Scenic Consultation: Matthew Landwehr

Assistant Lighting Designer: Casey Walsted

Production Stage Manager: Ginnie Willard

Assistant Stage Manager: Jason Wineberger

Sound Designer/Production Manager: Todd Labelle

Sound Operator: Emily Vial

Webmaster/Social Media: Emily Gerber

Graphic Artist: Douglas Fuchs

Run Time:

About 45 minutes with no intermission

Performance schedule:

Sunday, November 7 @3:00PM

Monday & Tuesday, November 8 & 9 @7:30PM

​”Everyone who enters Firehouse must be fully vaccinated and wear a face mask.”




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Author: jdldances

Julinda D. Lewis is a dancer, teacher, and writer, born and raised in Brooklyn, NY and transplanted to Richmond, VA. A retiree from both the New York City and Richmond City Public School systems, she is currently an Adjunct Instructor for the Department of Dance and Choreography at Virginia Commonwealth University, and holds the degrees of BS and MA in Dance and Dance Education (New York University), MSEd in Early Childhood Education (Brooklyn College, CUNY), and EdD in Educational Leadership (Regent University). Julinda is the Richmond Site Leader for TEN/The Eagles Network and was formerly the East Region Coordinator for the International Dance Commission and has worked in dance ministry all over the US and abroad (Bahamas, Barbados, Haiti, Jamaica, Kenya, Puerto Rico). She is licensed in dance ministry by the Eagles International Training Institute (2012), and was ordained in dance ministry through Calvary Bible Institute and Seminary, Martinez, GA (2009).

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