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Island is I think typical of the kind of work that I'm interested in.

It's very expressionistic.

You It was inspired by my thinking and concern about street people, homeless people.

The piece wound up being something other than that.

So I'm interested in uncovering things, allowing the audience to identify with things that are familiar to them, but also as the familiarity is presented, trying to uncover things so that there are different layers.

The Stuart Pimsler Dance and Theater Company, which was formed in New York City, moved to Columbus in 1983.

Since we arrived, the City of Columbus has been very supportive of the kind of work.

Like theater, all the memories, I mean, we all I'm going to go ahead and put that in with you now.

For a third year with another person.

To a new performance with the company.

The associate director of the company and person that has been in She's helping me with the work along the way with the company she's working with.

She's in second company in New York City.

Is that really is really about a very desperate woman and I feel it has a lot to do with personal relationships and and wanting that and yet sometimes feeling incapable of how you connect with people and and as a result you should get into a flurry where you're just lost and you're by yourself and you don't know how to send any signals out to anyone anymore and and there's a moment actually in the middle of it in which I feel like there's some sort of peace and it's when we're going towards one another and I feel like there might be a little bit of somebody that's going to save me but but then it's lost.

Our designer, Ronald Kajawara, is still designing sets for us in stage environments.

Our graphic designer, who started with us 10 years ago, is doing our graphic designs.

Our lighting designer, John Garnes, still goes out on tour with us and comes to Columbus to do our lighting designs.

So in a way, the company has evolved into this ongoing family that continues to collaborate When you're doing the jumping you should be reaching out, it's like your final gas before you exhaust yourself.

It seems to me that it should progress.

I mean, that they're really nice, but don't give it all in the first jump, but it's a little, and it's more desperate, and so it's fine when you can't get up again.

Stewart's autobiographical solo piece, Joy, deals with his family's acceptance of his becoming a dancer.

But the monkey grabbed his neck and said, now listen, Jack, straighten up and fly right.

Straighten up and slide right.

And Gertie?

And Gertie, are you out there?

She always comes up.

At least once a year she comes up, all the way from Florida, just to see what I'm up to.

It's not that she's crazy about it.

She still hasn't really accepted it.

But she's curious.

And Gertie, and Gerti, don't be embarrassed.

It's me, still me, Simcha, Simchagedalia.

That's my Hebrew name.

It means large god of joy.

I tell Aunt Gertie and the rest of the family, it's not my fault, not my alone that I'm up here.

No, it was my father.

When I was little, he used to take me down in our basement.

He used to teach me ballroom dancing.

He used show me how to Lindy hop, how to cha-cha.

Had a merengue.

A bugger took a monkey for a ride in the air.

The monkey thought that everything was on the square.

The bugger tried to throw the monkey off his back, but the monkey grabbed his neck and said, Now listen, Jack.