Mary A. Chase Doll
teacher, performer, choreographer

(click on a name or institution to learn more about it)

With two shows already performed in 2018, this year is bound to be exciting. In January, Mary performed in Beacon at the Palladium Theater in Saint Petersburg.  In February her students at The University of Tampa performed the premiere of Aurora that will be combined with the work Heavy the Rise to create an new evening length work later this year. In June, after six years of research and process, The Breath of the Compassionate will finally premiere at the Laban Institute in New York City. This is a movement meditation performed in collaboration with composer Bill Alves’ gamelan and video tessellations. This work follows the philosophy and work of the Charter for Compassion.   

Mary is a Certified Laban Movement Analyst and Bartenieff Fundamentals Practitioner. She holds a B.F.A. in dance choreography and performance from the University of Illinois and an M.F.A. in Dance from the University of Texas at Austin. Mary focuses on braiding tradition and innovation through choreography and performance. She has performed and/or her work has been produced in 16 States and internationally in Austria, Greece, Guatemala,  Bali, and Scotland.  

Mary moves. Her life as an artist constantly shifts with each new State and Country she and her family lives in.  Over the last seventeen years Mary has had the pleasure of working with people from all over the world not only through the sacred power of dance and its abundant connections and opportunities but by the sheer happenstance of being a wife of a US Foreign Area Officer.  Our latest move was to Tampa, FL where Mary is teaching Modern Dance at The University of Tampa. 9 moves in 18 years. 

2017 was a productive whirlwind.  Where You Hang Your Heart, a large group evening length piece performed by the companies of Park Hill Dance Collective and Academy at the Vintage Theatre premiered in March.  In April and May Tara Rynders Dance and company premiered The Clinic that will continue on to perform at Rose Medical Center in Denver, CO and tour regionally at area hospitals and community medical facilities in 2018. This work asks the question of how to fix what is broken contemplating the relationships between a medical diagnosis and the perspective of treating the whole person.  In the Tampa Bay area, Mary worked with Helen Hansen French on the premiere of the site specific show Our Trail and had a short improvisational work  Crazy(life) in The Evening of Experimental Dance at The University of  Tampa. 

Beginning in 2014 in Denver, CO Mary founded the Dance Program at Merrill Middle School. Merrill is a newcomer center for the the Denver Public School District housing the education for middle school students who have just arrived to the United States. In 2015-2016 Mary worked with Daughter Cells Dance in a process driven series of structured improvisations in the alternative performance art space at Bar Max. During the three years in Denver Mary taught for, choreographed and directed work in her neighborhood at Park Hill Dance Academy

In 2012-2013 in Monterey California, Mary danced for Stamping Zebra Dance Theatre, Tandy Beal and Company and Karl Schaffer of MoveSpeakSpin. She taught for SpectorDance,  the Monterey Dance Collective, Carmel Academy of Performing Arts and had choreography in shows at Monterey Peninsula College and The National Steinbeck Center.  While living in California she premiered group pieces Bring Your Hands Forth and Someday and also reconstructed 2001 solo Change (for fear) and 2002 solo The Window. 

Prior to Monterey Mary briefly lived outside of Nashville, TN teaching at Austin Peay State University in 2011. She premiered a duet Get Be Dirty/Little Red Shoes with artist Whitney Boomer and the large group work Journies Mercies in 2012. 

Moving to Austin Texas for graduate school in 2006, she split her focus between creative and administrative work. After graduate school she enjoyed directing the McCallum Fine Arts Academy Dance Program.  In addition to teaching technique and serving as the Fine Arts Internship coordinator at the University of Texas, Mary taught for Tapestry Dance Company Academy 2007-2009, and the American Ballet Theatre Summer Intensive in 2010. In 2007 and 2008 she served as the UT Program Coordinator for the American Ballet Theatre Summer Intensive. While living in Austin Mary danced in works by Claire Porter/Portables,  David Justin of American Repertory Ensemble, Holly Williams and enjoyed a wonderful working relationship between McCallum and aeriel dance  innovator Sally Jacques of Blue Lapis Light. During Mary’s time in Austin she choreographed over fifteen pieces most notably performing in festivals like Big Range Austin Dance Festival, Edinburgh Fringe Festival, Teatro Nacional Guatemala, and the International Dance Council Greece. 

While living in Seattle from 2004-2006 she danced with Josephine Garibaldi and Paul Zmolek of Callous Physical Theatre and taught Experiential Anatomy, Contemporary Dance and Creative Movement a Momentum Arts Academy and Seeds of Learning. Among several group pieces, it was during this time that Mary created her solos Unearthed and Managing the Moment that she  extensively performed for eight years. 

From 2001-2004 Mary taught technique, composition, improvisation, and dance sciences at Kansas State University and danced in works by her colleagues Vera Orlock, David Ollington and Joyce Yagerline. In 2002 Mary met and began working with E.E. Balcos creating the dance collective MidMotion incorporating artists from Kansas, Missouri and Nebraska. Another well known work, Mary created the solo The Window at The Dance Barn in Wilton, New Hampshire in 2002 that has since been performed in over 20 venues worldwide. 

Prior to 2001 Mary was fresh out of college.  Having performed in Bali, Indonesia on a Ford Foundation grant and won the Moe-Fiedler Choreographic award at the University of Illinois the year prior, Mary was living in New York City studying at the Laban Institute, mostly doing pick up work. With a $300 budget, she produced her first show of choreography at the Brooklyn Arts Exchange in May 2001. 

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