{"id":269233,"date":"2026-04-15T15:48:14","date_gmt":"2026-04-15T15:48:14","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/269233\/"},"modified":"2026-04-15T15:48:14","modified_gmt":"2026-04-15T15:48:14","slug":"dancing-with-bob-rauschenberg-brown-and-cunningham-onstage-two-iconic-companies-unite","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/269233\/","title":{"rendered":"\u201cDancing With Bob: Rauschenberg, Brown and Cunningham Onstage\u201d \u2013 Two Iconic Companies Unite"},"content":{"rendered":"

This article was first published on November 4, 2025 in order to give our readers a head start on purchasing tickets to this unique performance at The Wallis on May 7-9 2026. The Wallis continues to be out front in presenting outstanding dance companies from around the nation including those based in Los Angeles.<\/p>\n

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The Trisha Brown Dance Company<\/a> (TBDC) has joined forces with the Merce Cunningham Trust<\/a> to create \u201cDancing With Bob: Rauschenberg, Brown and Cunningham Onstage\u201d in celebration of American artist Robert Rauschenberg\u2019s<\/a> centennial year. This year-long tour will feature Set Reset choreographed in 1983 by Trisha Brown and Travelogue created in 1977 by Merce Cunningham. The set and costumes for both works were designed by Rauschenberg and each will be performed by members of the Trisha Brown Dance Company. The Dancing With Bob: Rauschenberg, Brown and Cunningham Onstage tour began on June 12 and 13, 2025 at the American Dance Festival in Durham, NC, appearing in Los Angeles at the Wallis Annenberg Center for the Performing Arts May 7-9, 2026. Tickets are on sale now<\/a>.<\/p>\n

\"Robert<\/a><\/p>\n

Robert Rauschenberg (1997) \u2013 Photographer Ed Chappell, Photograph Collection \u2013 Robert Rauschenberg Foundation Archives, New York<\/p>\n

Rauschenberg\u2019s collaborative relationship with the Merce Cunningham Dance Company lasted from 1952 through the end of the MCDC\u2019s World Tour in 1964. The two artists reunited in 1977 for Cunningham\u2019s Travelogue, in 2000 for Interscape and in 2007 \u00a0for XOVER. Brown collaborated with Rauschenberg during the 1970s, 1980s, and 1990s.<\/p>\n

LA Dance Chronicle writer Jeff Slayton met on Zoom with TBDC\u2019s Executive Director Kirstin Kapustik, Associate Director of Licensing for the Merce Cunningham Trust, Andrea Weber, and TBDC dancer Savannah Gaillard to learn more.<\/p>\n

It was the former Executive Director of the Cunningham Trust, Ken Tabachnick, who suggested this project to the Trisha Brown Dance Company. Ken Tabachnick had worked as Production Manager with TBDC during the development of Set and Reset and it was he who chose Travelogue to be part of Dancing with Bob.<\/p>\n

Kapustik felt that this was such an important project that she and Tabachnick started right away raising the funding and planning the tour. Since the Merce Cunningham Dance Company was no longer in existence, it was decided that based on the TBDC dancer\u2019s abilities, they could perform both works.<\/p>\n

\u201cIt\u2019s pretty amazing to see it come to fruition almost two years later,\u201d Kapustik said. Their hard work paid off and currently there is a seven city with hope that the tour will be extended beyond LA to include a European tour.<\/p>\n

I asked if this project would go on past Rauschenberg\u2019s centennial year.<\/p>\n

\"Merce<\/a><\/p>\n

Merce Cunningham \u2013 Photo and copyright by Annie Leibovitz (1997) Courtesy of the Merce Cunninhgam Trust and Jerome Robbins Dance Division, The New York Public Library<\/p>\n

\u201cI don\u2019t think we can answer that right now,\u201d Kapustik said. \u201cThis is a program full of powerhouses and a full evening of dance.\u201d\u00a0 Weber agreed and added that other special events are being planned such as a MinEvent performed by OSU students at the Wexner Center, \u00a0and at Iowa State students will perform Trisha Brown\u2019s Foray, For\u00eat choreographed in 1990.<\/p>\n

Because the Trisha Brown movement style is so very different than that of Merce Cunningham\u2019s, I asked TBDC dancer Savannah Gaillard, with her training, how it is to go from one dance to the very different style of the other.<\/p>\n

\"Merce<\/a><\/p>\n

Merce Cunningham Dance Company in \u201cTravelogue\u201d, Choreography by Merce Cunningham \u2013 Photo by Charles Atlas.<\/p>\n

\u201cToday was the first day we rehearsed \u00a0Cunningham\u2019s Travelogue and Brown\u2019s Set and Reset together, \u201cGaillard stated. \u201cEven though they require very different techniques, each complements the other really nicely. The clarity and the sharpness I find in Cunningham can inform my perspective and execution of Trisha\u2019s work. Surprisingly, it\u2019s an enjoyable switch.\u201d<\/p>\n

\u201cSince each dancer has their unique experience with Cunningham\u2019s body of work, we take the time to practice the technique before performing Travelogue, so there is a specific, detailed, physical group embodiment of the movement,\u201d Gaillard continued. \u201cI feel everyone takes a very fearless jump into both worlds.\u201d<\/p>\n

\"Trisha<\/a><\/p>\n

Trisha Brown Dance Company in Travelogue (1979), Choreography by Merce Cunningham \u2013 Dancers Savannah Gaillard, Spencer Weidie, Catherine Kirk, Burr Johnson, Patrick Needham, Jennifer Pay\u00e1n, Claude CJ Johnson. Ashley Merker \u2013 Photo by Ben McKeown, courtesy of the American Dance Festival.<\/p>\n

\u201cThis current company is quite informed about Merce\u2019s work. All have taken class and have had some sort of connection to it, whether it\u2019s been their own delving into it or\u00a0 \u00a0 having studied it in school. There are moments in Trisha\u2019s work where you can see these little flecks of Cunningham come out of fingertips, bodies and toes.\u201d Weber said.<\/p>\n

Weber added, \u201cThe Cunningham Trust already had an archival process with Travelogue so it seemed relevant to find a way to restage it. Travelogue also marked Rauschenberg\u2019s reunion with Cunningham after the two artists had parted ways in 1964. Travelogue had not been seen since 1979 so reconstructing it in its entirety was exciting.\u201d<\/p>\n

\"Trisha<\/a><\/p>\n

Trisha Brown \u2013 Photo by Marc Ginot.<\/p>\n

Because the original sets and costumes for both works are the property of museums, TBDC collaborated with the Cunningham Trust to have them reconstructed. Weber feels that the sets and costumes for Travelogue are extraordinary and was thrilled with the material that we found to realize Rauschenberg\u2019s design. \u201cThey\u2019re just gorgeous,\u201d she gushed. \u201cThey have the same color palette as the originals. I\u2019m very happy!\u201d<\/p>\n

Kapustik said that Trisha\u2019s exploration of visibility and invisibility in Set and Reset is reflected in the set and the translucent costumes designed by Rauschenberg.\u00a0 The set, a geometric construction on which newsreel footage is projected, hovers above the dancers, creating a vibrant environment that is full of activity and engagement<\/p>\n

\"Trisha<\/a><\/p>\n

Trisha Brown Dance Company \u2013 \u201cSet and Reset\u201d (1983), Choreography: Trisha Brown \u2013 Dancers: Jennifer Pay\u00e1n, Patrick Needham, Spencer Weidie, Catherine Kirk \u2013 Photo: Ben McKeown, courtesy of the American Dance Festival.<\/p>\n

Gaillard said \u201cTrisha created sequences of movement that were called walls, and there were four walls that the dancers go through. \u201cThe original cast improvised through each wall and would reset back to the beginning to solidify their improvisation. This is the movement we learn today. \u00a0The dancers \u00a0improvise and then kind of reset.\u201d<\/p>\n

My final question was if there was anything that we had not discussed that they felt our readers should know.<\/p>\n

Kapustik said, \u201cI think, for me, this is about honoring Rauschenberg and his contribution to dance. You have these two incredible choreographers, and they both collaborated so differently with Rauschenberg to create these phenomenal works of art on stage. We hope that this program will elevate contemporary dance to the level of visual art.\u201d<\/p>\n

\"Trisha<\/a><\/p>\n

Trisha Brown Dance Company \u2013 \u201cSet and Reset\u201d (1983) \u2013 Choreography by Trisha Brown \u2013 Dancers: Patrick Needham, Catherine Kirk \u2013 Photo by Ben McKeown, courtesy of the American Dance Festival.<\/p>\n

Weber jumped in to add, \u201cI think it\u2019s a beautiful testament to the versatility of your dancers as well. Also, I just have to say it\u2019s difficult to move one person\u2019s choreography forward in the world, and the mission that you have to bring new work in is incredible. So, for us, it\u2019s about moving forward.\u201d<\/p>\n

\u201cDancing With Bob: Rauschenberg, Brown and Cunningham Onstage\u201d appears at The Wallis Annenberg Center for the Performing Arts Thursday \u2013 Saturday, May 7-9, 2026 with two performances on Saturday. This is a historical event, so try not to miss it.<\/p>\n

For more information and to purchase tickets, please visit the Wallis Annenberg Center for the Performing Arts website.<\/a><\/p>\n

To learn more about the Trisha Brown Dance Company, please visit their website<\/a>.<\/p>\n

For more information on the Merce Cunningham Trust, please visit their website<\/a>.<\/p>\n

Written by Jeff Slayton for LA Dance Chronicle.<\/p>\n

Featured photo: Trisha Brown Dance Company \u2013 \u201cSet and Reset\u201d (1983), Choreography: Trisha Brown \u2013 Dancers: Jennifer Pay\u00e1n, Patrick Needham, Spencer Weidie, Catherine Kirk \u2013 Photo: Ben McKeown.\u00a0<\/p>\n

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