Duet by Gail Gilbert
Choreography by Gail Gilbert
Performed by Gayle Gibbons Madeira and Piper Albert
at the Ohio Theater, Soho New York City, 1996

Excerpt from “Five Particular Women” by Matthew Nash
Gayle Gibbons Madeira performing in excerpt from “Five Particular Women” by Matthew Nash
Performed at the Merce Cunningham Studio Theater in New York City
Choreography by Matthew Nash

“Ha Ha Haah”
Choreographed by Gayle Gibbons Madeira
Performed by Gayle Gibbons Madeira and Sara Baird in Virginia
“Two Picasso Pierrots in a Salvadore Dali landscape alternately changing into frogs and orangutans and often being plagued by mosquitoes”

“…persuasive dances with cosmic themes…handsome caryatids grew progressively nuttier and more abandoned in Ms. Madeira’s ‘Ha Ha Haah’ ”

—Jennifer Dunning, The New York Times

“[Madeira] loses control of her hands a la Doctor Strangelove and races around the stage like Jim Carrey on a good day.”

—Heather Mitchell, The Washington Post

“Burgeoning genius… tremendously creative pieces danced with the utmost technical excellence… brilliantly bizarre and humorous. A strong demonstration that dance can still explore new territory while maintaining a classical ballet/jazz/modern foundation.”

—Terri Goldman, The Review Magazine (Washington, DC)

Excerpt from “Smile America”
Choreographed collaboratively by the Phffft Dance Theater Company which, at the time, was composed of Cyrus Khambatta, Gayle Gibbons Madeira and Jenn Paislee Clark.
Performed by Cyrus Khambatta, Gayle Gibbons Madeira and Jenn Paislee Clark at Dance Space in Washington D.C. This piece was also performed at Here Theater in NYC and at the Spoleto Festival in Charleston South Carolina. The work was created from a base of contact improvisation.

“The evening-length piece was at once clever, amusing and unsettling. It managed to condemn our entire consumer culture, even linking Madison Avenue and organized religion. …the work’s scathing satire hit its mark.”

—Dean Smith, The Charlotte Observer (North Carolina)

“[There was] an arresting solo crisply danced by Miss Madeira whose arms and legs were attached to strings allowing her to move precariously within the confines of her manipulated space. The strong presences and individuality of the performers made the jam-packed evening work.”

—Eliza Ingle, The Post and Courier (North Carolina)

“…a flow of clever choreographic material…in almost constant contact with one another, dancers flew, pulled and drew on each other’s energy. In the end, it was the sheer physicality of the dancing that won the evening.”

—Pamela Squires, The Washington Post

Choreographed and performed by Gayle Gibbons Madeira
Music: Franz Schubert
Performed in SoHo, New York City