In the summer of 2002 Bruce Springsteen released his CD "The Rising," in response to the horror of 9/11. His songs sparked graphic movement images in my mind that quickly jelled into an evening length performance of eleven of the Rising songs. I was able to create a new thread of storyline by rearranging the song order, and through that illustrate the hardships that were incurred by so many as a result of that day.

The piece began as a student workshop in November 2003 at the University of California, Irvine. Armed with a DVD of that production, I was able to eventually secure the performance rights to the music, including another of Bruce's songs, "Land of Hope and Dreams." In a stroke of fate, in my hometown of Red Bank, NJ, a new professional theatre, the Two River Theatre, had been built, and a scholarly conference on the impact of Springsteen's music on American society was scheduled for Sept. 11 weekend, 2005. It was the perfect place to debut this work, in Monmouth County, NJ, where many residents lost their lives on 9/11.

I was not able to build a full cast of 25 dancers in either California or in New York, so I ended up having half a cast of dancers from each location! I rehearsed the entire performance first in California with 14 dancers, and then I rehearsed another 11 dancers separately in New York. It was a huge task of organization and planning.

The California cast flew to NJ on Friday, Sept. 2, and my crew worked feverishly on Saturday, Sept. 3 to prepare the stage and lighting. On Sunday, Sept. 4 I brought both casts together for the first time. They finally knew who their partners were, as they had been rehearsing many pieces with only half a cast present. It worked well, and we pieced together the entire show that day. Monday, Sept. 5 was Labor Day, and the theatre was closed.

Tuesday, Sept. 6 was a rough run through, and then an all afternoon/evening lighting tech. Tom Ruzika, my lighting designer, and Douglas Goheen, my set designer, were fabulous. On Wednesday, Sept. 7 I brought my old friend photographer Eduardo Patino in from NYC to shoot the rehearsal. We had our first tech/dress runthrough on Wednesday afternoon, and I expected him to watch the piece first, and then shoot it the next day. Instead, he began shooting the moment the piece started, and was able to capture the essence of so much emotion, without ever seeing the piece prior - amazing!

Thursday, Sept. 7 was a final dress runthrough in the afternoon, and opening night at 8 pm. Eduardo returned from NYC on his own time to shoot the show again - he was so amazed with the work. We opened to a small house - about 60 audience members. Small, but vocal and committed to the performance. The show ran Friday, Saturday, and then two shows on Sunday, September 11, 2005. Although the houses were not what we expected, the performance was incredibly moving. Audience members wept openly throughout, and yet left in tears of joy. The task of marrying rock music, 9/11, and a unique theatre dance experience clicked perfectly.

The performance was also a fundraiser for The Memoria Project, a 9/11 memorial in Highlands, NJ. Bruce Springsteen's management donated his music royalties for the performance to the memorial. I also spoke at length with many local people who lived so directly through that 9/11 experience. They asked me if they would be sad if they came to the performance. I said, "yes, I think so." Then they asked, "please, just give us hope." And I think I did that, with the ten minute finale, Land of Hope and Dreams. It was an evocation of a time we dream of when the sadness will and and we will be reunited with loved ones who were lost. Thus, the tears of joy.

Empty Sky...The Rising was a four year project, and one that very few people supported within the University of California, Irvine. Through sheer determination I was able to make it happen. I hope that I will have the chance to someday stage this performance again, perhaps in NYC??