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Reasons for Moving, was commissioned for and performed by University of Michigan Dance Company for their 2005 season at power Center for the Arts. It was commissioned alongside an original score by Daniel Bernard Roumaine, which was performed live by the School of Music Jazz ensemble. There was also a commissioned series of video projection interludes. Built for 20 students and performed in a 3,000 seat Opera house, the work is the largest student work the company has created. It is a series of increasingly connected human interactions that follow a group of people from their personal world into their global community.

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Dangling Fruits of Joy or How To Make Love, originally a quartet, has been stretched and condensed for different company situations into either a duet or a piece for as many as twelve. The piece has been set on Connecticut College and Dance New Amsterdam's NYSDI. Attacking mythologies surrounding gender, "Dangling Fruits of Joy or How to Make Love" asks "what makes a man a man and a woman a woman in the eyes of society." Challenging, provocative and philosophical, the work is also vigorous, dramatic, and ripe with humor. Called "smart and startling" by Elizabeth Zimmer and "hilariously perverted" by Deborah Jowitt, "Dangling Fruits of Joy or How to Make Love" continues to garner critical and popular acclaim.

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Diet Coke Can Save Your Life, created through an NCCI grant at Montclair State University, is a repertory work for 5-15 women. The work has been re-created on Alexandra Beller/Dances, Rhode Island College, Long Island University and Oakland University and with the help of Dance Space Center’s Artist in Residency Program. Using gestures drawn from mass media, Ball gowns made entirely of diet coke cans, and a sound score of infomercials and driving music, DCCSYL an examination America’s cultural obsession with physical perfection, especially in women.

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what comes after happy, has been set on The New School and at Dance New Amsterdam's NYSDI. cracks open our cultural obsession with happiness. More than almost any country, America is driven by the search for a state we consider "happy." As if happiness were a state of the Union rather than a state of being, we seem to be constantly mapping out the route towards a place, rather than experiencing the journey and taking in the states along the way. While other countries give deep value to the states of sadness, anger, passion and fear, we often whitewash our everyday lives to announce to the world and ourselves that we do not covet, that we are not filled with unrest, that we do not mourn. What comes after happy features 300 fortune cookies, an eclectic score and a ferocious physical vocabulary.

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Anywhere on this Road was commissioned for and performed by Texas Christian University Dance Company. It brushes up against the aftermath of war on a community and follows them as they gather themselves to learn how to be in a post-apolcalyptic community again.