Fiona Evans began dancing ballet at the age of 4 and hasn’t stopped since. Born and raised in Santa Fe, NM, she started her training under Andy Prince at Prince Ballet. She continued her studies with Gisella Genschow at the Santa Fe Dance Foundation through high school. In 1996, Fiona attended the Boston Conservatory and studied a mix of modern and ballet under Jennifer Scanlon, Yasuko Tokunaga, Donna Silva, Anamarie Sarazin and Elaine Bauer, among others. She also studied with Marcus Schulkind outside of the Conservatory.
In 2001, after graduating with a BFA in dance, Fiona moved to New York City to continue her dancing. In 2004, she joined Alan Good dance, who she closely studied with and performed with for 5 years. During her time in New York, she also continued her ballet training with Christine Wright, Marjorie Mussman, Jocelyn Lorenz, Zvi Gotheiner and Graciela Kozak. In addition to dancing, Fiona also received her Pilates certification from Sal Anthony’s Movement Salon in 2004. While in New York, she continued to study Pilates closely with Clarice Marshall and also studied with Deborah Lessen, and Maya Aubrey. Fiona continued to dance, perform and teach Pilates in New York, until 2010, when Fiona and her husband decided to move to Seattle. In her 5 years in Seattle, she has choreographed and danced with Bellingham Repertory Dance as well as Relay Dance Collective and has taught Pilates at Pilates on 10th and Lift Pilates. This past summer, Fiona attended Anne Green Gilbert’s Summer Dance Institute for Teachers. Fiona loves helping dancers learn how to make clear connections in their body through the use of imagery, anatomy and rhythm.
Danielle Doell is a Seattle-based dance and performance artist, choreographer, educator, and floral designer. She graduated from Ohio University in 2014 with a BFA in Dance Performance and Choreography, with a minor in Arts Administration. Following graduation, Danielle had the pleasure of working for several prominent dance-presenting organizations such as Gibney Dance Center, New York Live Arts, the Dublin International Dance Festival (IR), and The Yard. Doell contributes much of her creative growth and professional development to her time at The Yard, where she began as an intern in 2014 and was later promoted to Artist Educator in 2015. She lived on Martha’s Vineyard for two years working to pilot and build the Making It initiative, a program that promotes kinesthetic alternatives to traditional pedagogical methods in public schools, hospitals, community centers, libraries, prisons, and other outreach centers. During her time at The Yard, Danielle worked with former classmate, Leah Crosby. Together, the two founded LanDforms, their creative partnership. Since 2016, their work has been performed across the country. The two now proudly call themselves a Seattle-based company. Additionally, Danielle dances for the Pat Graney Company.
Beth Terwilleger grew up in Santa Cruz, California, and always felt free to allow her imagination to thrive. She spent her early childhood years creating worlds, theatrical performances, and dance extravaganzas. At a young age she was introduced to ballet and immediately fell in love. So driven by this new passion, she forgot her roots were truly planted in creation and not personal performance. After spending ten years with Ballet Austin in Texas and freelancing in San Francisco and London, she has re-found her roots in Seattle and spent the past year passionately exploring, generating, and supporting dance works here in this city. She had once thought that this imaginative part of her brain was left in those childhood years but is excited to have found that it does still exist through her choreographic practice.
Since the inception of her new dance company, The Gray, a year ago, Beth’s work has been presented all over Seattle. She started at Velocity Dance Center presenting a new work through Velocity’s co-production program. She then continued to receive support from Velocity Dance Center through her participation in their 2019 Winter Bridge Project program. She has also choreographed works for 12 Minutes Max, March edition, and a mixed bill evening Base Independent Production at Base: Experimental Arts + Space in Georgetown, Seattle. Beth has also had the honor of creating work this year for Converge Dance Festival as well as a split bill performance with Stella Kutz at YAW Theater. She then went on to revisit her first Seattle work, The Midsummer, at Seattle International Dance Festival in June where it was announced she has been awarded acceptance to their prestigious James Ray Residency Program for their 2020 Season. To wrap up her first year creating in Seattle, Beth premiered a full evening of work at On the Boards this August and a new piece at Men in Dance in October. She wants to thank the incredible dance community here in Seattle for their support and inspiration, especially all of the dancers she has worked with over the past year. They are the drivers of artistic innovations and she is forever grateful for them.