Q: When did you start choreographing?

A: I started choreographing when I was really, really young -- as early as 14. I was telling my husband this story last week, that I remember the first thing I ever choreographed and showed to my dance team coach when I was four.  About 10 year ago, when Stanton (Welch) started some choreographic workshops in the Black Box Theatre, I picked up choreography again. I've been creating work constantly ever since, here in town, for other professional companies and for film. In terms of actual ballets, this would be my 11th.

Q: What's the difference between your previous work and "Floreciente," which feels particularly grand?

A: This production is much, much bigger. I have a diverse collection of work now, but I haven't made a full-length ballet. This is a step in that direction. It's an itch and a bucket list item. Stanton said, "You have a one-act ballet. Get the lighting you want, get the designer you want." So this is bigger than anything I'd previously done."

Q: What was your main source of inspiration for this piece, if anything?

A: This commission sat in my brain for three years. I feel that in a way it's sort of jam-packed as a result of that, because I sat with this idea and inspiration for so long. In that original commission what was on my heart and mind was my own connection to nature. I'm from Northern California where there are redwoods and ocean all around. I'm challenged in Texas to find myself in nature where I can rest and feel at peace. I was curious if people were having similar connections of missing the natural world; that made me want to explore the concept and the seed was planted. The piece grew from there.

Q: What do you mean when you say "jam-packed?"

A: So many things have happened to us as a species. Technology, industrialization... that created a cycle of chaos. How do we get back to living in nature and having that harmony restored?

Q: What sort of themes and storytelling devices did you use with "Floreciente"

A: It's more conceptual and symbolic than deliberate storyline. The themes would be the strength and joy that are (found) in connection and harmony when we can find those spaces. Those natural ebbs and flows -- connections and loss became a theme as I made the piece. I wanted to create a world and an atmosphere that would take you on a journey. That arch resonates with people.

Q: What was your process like? Where do you even start?

A: Well, I got to meet with Olga (Saldivar, costume and scenic designer.) I love her work -- it's serendipitously come in and out of my life over the past 15 years. Now I'm a fan-girl. I reached out to her first asked if she wanted to go on this wild ride with me. We have similar ways of talking about creative processes. Basically we sat and listened to the music and I told her what was in my brain -- that piece came first. Then we brought these representations of the feel of the work to life.

Q: What was your biggest challenge?

A: Working with projections was by far the biggest challenge for me. Everything is hand-painted by her. These evolving animations bloom for the piece. I've never seen a ballet that worked with that level of projections. I didn't have any idea in my mind of how to work through timing and lighting so the dancers aren't swallowed up.

Q: What was your favorite part about working on "Floreciente?"

A: I have quite a few favorite moments, but I'm touched by and the most grateful for all of this time and work that went into the projection and animation. To see how much the artwork supported the environment I was trying to create; I really felt like they have become supporting characters. And I wouldn't have known, until I got onstage, that was going to be the case. I'm also very proud of the vulnerability and authenticity that both groups of dancers showed through injury and illness. Every single person showed up everyday with their authentic selves. And that made me proud.

Q: And what do you hope audiences take away from the piece?

A: Curiosity. I really hope that people can be curious about what they felt or what touched them or what stood out to them. Even if the thread isn't clear. I want to make art that touches people and that makes them feel something after they leave the theater.

Source: The Houston Chronicle, by Amber Elliott