"La Loba”, collaboratively conceptualized by Pellecchia & musician Ed Broms, incorporates an original music score performed live on piano, which serves not only as instrument, but also active set. This piece was inspired by passages from Clarissa Pinkola Estes’ book “Women Who Run With the Wolves” and was made in memory of DeAnna’s late grandmother, Doris Evelyn.
Platform Commissioned by Boston University
Set on a stage filled with platform shoes, DeAnna's newest solo addresses the socio-political "platforms" of our time. Adorned in red, white and blue DeAnna incorporates strong visual imagery with spoken word and sharp, disjointed choreography to comment on the personal choices we as Americans make on a daily basis.
Shine Commissioned by The Huntington Theater Company In conjunction with Bennett Dance Company "Shine" celebrates the heyday of the 50's when 'Shoeshines' lined the corners strutting their stuff for tips..."Hambone, Hambone, have you heard?" Set around a four-legged stool, virtuosic movement combines rhythmic hand slapping and foot stomping with acrobatic feats on and around the prop. Vocal improv is provided by Chris Cote of Seks Bomba as the Shoeshine incites the audience to laugh, cheer and increase their tips...
Tang Commissioned by Boston University
"Tang", a five-minute solo of dramatic, athletic energy, set to an intense score of Tango percussion by Lalo Schifrin, draws inspiration from the tension that builds in the ring of a bullfight. This work combines elements of hip-hop, Flamenco, Tango and modern dance with movement stemming from various martial art forms including Capoeira, Wushu and Tae Kwon Do. Clad in black and red, DeAnna dances and fights with elusive opponents, moving from and within the prescribed circle.
Doll Produced by Outside Art Collective In collaboration with musician Matt Samolis
Set to an original banjo score by Boston-based musician Matt Samolis, better known as 'Shoe', "Doll" was presented at Outside Art Collective's 'Vroom, Vroom, Vaudeville' held at the legendary Middle East in Central Square, Cambridge. Complete with plaid skirt and red circles for cheeks, the sweet, innocent 'doll' begins tap dancing 'Shirley Temple' style as the banjo correspondingly plays even-tempo cords. As the piece progresses the music shifts from docile to crazy, and so does the tap dancer. The doll image is shattered and the audience is left in hysterics as the 'good--ship' tap dancer becomes a slam-dancing psycho.
