...was one of my favorites of the evening because of the use of voice along with well-crafted movement...with all the dancers dressed in almost floor length long sleeved black robes reminiscent of a nun’s habit.
This particular piece challenges the dancers to unleash some dynamic expressions that are otherwise often suppressed in everyday life


It is difficult for women to forget the last century of social norms because it is in our anatomy, so fighting for social change and thinking differently can combat with the history of the feminine. Women communicate approval and disapproval to one another tacitly. It shocks Grace to witness women pitted against one another in this fashion


A work for five young women that explores the male archetypes of world history and also of those performers’ own personal history...using both movement and voice, Daughter’s of David explores the space between loyalty and suppression.
Grace Courvoisier’s imganitive solo “On The Height’s Of Despair” set the tone for the evening, with a stunning performance in which this demi-goddess of a dancer revealed a range of emotional states veering from insecurity to ecstasy. Her buttoned up apparel - a long sleeved blouse and long black skirt - seemed to indicate a woman not sure of herself physically, yet soon, she let her hair down and turned into a provocative siren. Her movement shifted from expansive to halting in the twinkling of an eye. As the music evolved from Chopin to 80’s pop tune(s), Miss Courvoisier drew a girl from the audience, and held her in a prolonged embrace; the dancer then began to weep. But when the strains of a broke down version of the Blue Danube Waltz commenced, Miss Courvoisier became giddy. In a dance with her own shadow, she becomes sexually overwrought, before finally pulling herself together. This fantastic portrait of a woman on the verge held the audience in captivating silence...
A warm and open-hearted beauty...the first thing the team noticed about her was her sweet and open-minded demeanor. Since she is approaching an upcoming dance performance, for which she was hoping to keep a bit of length, Wes agreed to keep it long, and Roxie recommended a soft and natural hair-painting for dimension and movement. Grace agreed, telling them excitedly, “I’m a mover, so that really works for me”
Courvoisier’s “Fresh Not Frozen” was an outlier in this program, and might be forgotten, except it imprints with its simplicity. Dancer Julia Radomyski’s urgent tapping of her breastbone, her incessant skin-reddening rubbing of the face, her arcjing wrists as they sweep upwards and only stopping when bone meets bone at the apex above her head. This is what I remember, and what is important, along with the feeling of anxious passion that Radomyski physicalizes, while maintaining her natural grace. More theatrical than sensitive, more subtle than miming, “Fresh Not Frozen”, sandwiched between hugely ranging styles of dance, exemplifies CURRENT SESSIONS’ good taste within many genres.
Choreographic Artist Grace Courvoisier, takes Las Vegas in a series of photographs by Sarah Sunderman
...the work soon revealed itself to be a highly sophisticated and deftly crafted tour-de-force for Courvoisier who managed mercurial shifts in tone and focus. Her treatment of the movement and language inter-relationship was clearly fed by some of her hearty exposure to Tere O’Connor, who teaches at her alma mater out in Illinois. Despite carrying some heavy baggage about the state of our country, she employs a compelling range of physical and verbal play. I felt deliciously whiplashed trying to keep up with her rapidly firing, non-linear investigations, while enjoying her quieting device of smacking her lips for a “Pop” while calmly sitting and seeming to pull the idea out of her brain and crumbling it away in her fingers.