RoseAnne Spradlin’s newest work, ‘X’, premiered at New York’s Joyce Theater in September 2016 as part of New York Quadrille, a series curated by choreographer Lar Lubovitch. The unique design of the Quadrille series called for the temporary installation of a thrust stage with audience seating available on all four sides; Spradlin was one of four choreographers commissioned to create new works; her work ‘X’ was subsequently cited in the New York Times’ December 7, 2016, issue as one of the best dance productions of the year. Critic Brian Seibert wrote, “The platform was more than metaphorical — a new stage with seating on multiple sides — but the crucial change seemed less a matter of perspective than of permission: a license to take risks. RoseAnne Spradlin’s ‘X’ went the farthest…[the series offered] highly intelligent, questioning, consciousness-expanding choreography of a variety particular to New York.”
Spradlin first gained critical notice in the 1990’s as a performer in works by downtown choreographer Steve Gross. She appeared in Frauen Gold (1989), Crush and Glitter (1990) and Doin’ Time, Thinking About Adam and Eve (1995), a work commissioned by the American Dance Festival. Reviewing Spradlin’s debut in Gross’s work critic Jennifer Dunning wrote, “What made the evening memorable was Frauen Gold, an almost painfully vivid evocation of women who cannot cope with life and, in particular, with motherhood….And Ms. Spradlin, wearing an inspired, shimmering red and gold shirtwaist dress, communicated it all in a performance of quiet, searing splendor.”
Spradlin’s choreographic breakthrough came at the Kitchen in 1996 with premiers of three works of choreography: Immunity, Desire and Last Day of Summer. Spradlin was back at the Kitchen in 1997, developing a 45-minute solo, Ends Of Mercy, for herself, and a shorter solo work, Egress, for dancer Paige Martin. Ends of Mercy was performed at Chisenhale in London in 1999 and in San Francisco the same year. Spradlin’s work has since been seen at major downtown venues in New York including the Joyce Theater, New York Live Arts, Dance Theater Workshop, Danspace Project, Chocolate Factory, Dixon Place, Whitney Altria and Dia Center for the Arts. Spradlin also self-produced two unique performances in loft spaces she managed; her BESSIE award-winning trio under/world was first produced at SQUID Performance Space in 2002, with a repeat production at the Kitchen in 2003; her work NOVA was produced at Studio 65, a space Spradlin managed for twenty-one years in Lower Manhattan. NOVA, running for ten performances over two weeks, brought mounds of clothing into the space; the performance began each night with the cutting away of multiple layers of clothing from one male and one female performer by two other performers; Spradlin used the mounds of cut-up clothing in her next production Survive Cycle, produced at Dance Theater Workshop in 2006. Survive Cycle toured to Schauspielhaus Wien as part of the ImPulsTanz Festival in Vienna; NOVA was performed in 2006 at Rutgers University in NJ.
During this era of her career Spradlin first developed a relationship with visual artist Glen Fogel, who has been a collaborator in three subsequent productions: Survive Cycle (video), g-h-o-s-t c-r-o-w-n (working title) (sculpture and video) and the recent X (original soundscore). In addition to Paige Martin, who danced in a number of early works, other key performing collaborators were Steve Gross, Tasha Taylor, Athena Malloy, Walter Dundervill, Jennifer Kjos, Natalie Green and Rebecca Warner. All helped Spradlin develop the unique signature vocabularies of her work. Spradlin was thrilled to collaborate with three new dancers, Asli Bulbul, Kayvon Pourazar and Connor Voss for the creation of ‘X.’ Voss also made costumes for the work.
Spradlin’s awards include the 2014 US Artist Ford Fellowship in Dance, the Guggenheim Fellowship in Choreography (2008), the New York Foundation for the Arts Fellowship in Choreography (1998, 2002, 2006, 2010), the Lambent Foundation Fellowship in Performing Arts (2006-2008), the Artist Award from the Foundation for Contemporary Arts (2007), the Doris Duke Charitable Foundation Creative Exploration Fund Award (2008), among others. Spradlin won a 2003 New York Dance and Performance Award (BESSIE) in Choreography for under/world; all three performers and the lighting designer also won BESSIES for their work on the production. Spradlin has won many production and infrastructure grants from the New York State Council on the Arts, the New York Foundation for the Arts BUILD Grant Program, the MAP Fund, Jerome Foundation and New Music USA.
Spradlin returned to performing in 2016, participating as one of eighteen dance artists in Maria Hassabi’s PLASTIC, a month-long performance installation at the Museum of Modern Art. Spradlin was recently named the 2017-18 Randjelovic/Stryker Resident Commissioned Artist at New York Live Arts in NYC; the two-year salaried position begins January 1, 2017 and culminates with the premier of a newly commissioned work at New York Live Arts in Fall 2018.