starting on Thursday, September 13th,
I will teach regular DANCE THEATER CLASSES – Open Level
Every Thursday from 7:30-9:00PM
at Peridance Capezio Center 
(126 East 13th Street, between 3rd and 4th Ave, New York)
Can’t wait to share this journey with you!
For more info CLICK HERE:

Expand your craft, technique and creativity in an exclusive, personalized, classes. This is an opportunity for dancers, actors and performers to develop their potential on both movement and theater performance skills and connect both to become more authentic, expressive performers.

This class explores the principle: Motion Creates Emotion /Emotion Creates Motion, and emphasizes the use of imagination, interpretation and body coordination and control. 

Part-time Intern Position available for: 
Development and Marketing
Ana Puerta
AL/DD offers stimulating internship opportunities for someone seeking experience in arts administration, development and marketing. The intern will gain experience in operations, marketing, public relations, archiving and production within a small yet very active professional dance company. The intern will directly assist Anabella Lenzu, Artistic Director, with producing events, marketing campaigns, grant research, database management and other pertinent work. Applicants should be available to commit for a minimum of 3 months, hours negotiable (8 hours / week preferred).
Internships can range from 3-12 month commitments, initially unpaid, with the opportunity to grow into a paid position.
The internship will start on September 3, 2018.

Development and Marketing Intern
1. Qualifications: 
The Administration applicant must have excellent oral and written communications skills, be proficient in Microsoft Word, Excel, and able to manage multiple tasks and deadlines. The candidate for the internship position must work well independently, with exceptional attention to detail, outstanding communications and organizational skills, and a passion for the arts.

2. Compensation:  
This is an unpaid internship. AL/DD will provide a diligent and reliable intern with excellent recommendation letters and free performance tickets and the opportunity to attend Anabella Lenzu’s classes (for those with a dance background). This is a great opportunity to gain real life experience working closely with a small professional Arts Organization.

To be considered for the position, please write a cover letter
(no longer than 1 page) explaining:
a) Why you wish to intern at AL/DD
b) Your qualifications and interests
c) Your goals and expectations for the internship and dates and days of the week you are available
Applications due: August 20, 2018. 
For more Info CLICK HERE


Emotion creates Motion and Motion creates Emotion
Jul 23 – Jul 27, 2018
10:00 AM – 1:00 PM
at Peridance Capezio Center (126 East 13th Street, between 3rd and 4th Ave, NYC)


Expand your craft, technique and creativity in an exclusive, personalized, tailored program. This is an opportunity for dancers, actors and performers to develop their potential on both movement and theater performance skills and connect both to become more authentic, expressive performers.

This Workshop explores the principle: Motion Creates Emotion /Emotion Creates Motion, and emphasizes the use of imagination, interpretation and body coordination and control.

DANCE TECHNIQUE (Monday – Friday, 10:00- 11:30AM)
Students develop alignment technique and an understanding of the dynamic in dance. Increase flexibility and strength as well as to develop muscular awareness in order to prevent injuries. Using phrases of repertory, students solve technical problems, using fundamentals of ballet and modern dance techniques. Proper technique is the foundation for learning to dance and control the body, showing how to use one’s muscles, achieve balance, and become aware of posture and placement.

REPERTORY (Monday – Friday, 11:30AM-1:00PM)
Students experience and study Anabella Lenzu / DanceDrama repertory. The emphasis is on the journey rather than the destination, on understanding the impulses generated by movements and gestures. The search is for authentic and honest movement. Derived from our most basic impulses, these dance works use this principle to examine relationships between the individual and society, exploring communication, identity, memory, and spirituality, the relationship between people and their environment, the struggle for women’s identity and their role in society, and the nobility of the body as a temple for our mind, soul, and heart. There will be a showing on the final day of the workshop (Friday, July 27) from 12:40-1:00PM to showcase repertory developed during the workshop.

It is an honor for me to be able to sustain and support dancers in the delicate task of cultivating their awareness of themselves as individual artists. As we become aware of our passions and strengths, we are able to wake the creative impulse in others. I seek what is essential and want to connect or reconnect people with the joy of dance. Wherever I go, I teach with a human and comprehensive pedagogy in which creativity, ethics and aesthetics are intertwined. – Anabella

Workshop Fee(Tech +Rep): $200


Article by Daniel Pettrow

“What then is truth? A movable host of metaphors, metonymies, and anthropomorphisms:  in short, a sum of human relations which have been poetically and rhetorically intensified, transferred and embellished, and which, after long usage, seem to a people to be fixed, canonical, and binding.  Truths are illusions which we have forgotten are illusions.”  That is what Friedrich Nietzsche examined in his essay “On Truth and Lies in a Nonmoral Sense.”  #Nietzsche suggests that our purest contact with reality lies in breaking free from the trap of language and standing in absolute attentive presence with the actuality of what is before us – beyond classification, beyond description, beyond constriction into concept.

Working on Anabella’s “No More Beautiful Dances,” I was reminded of this essay by Nietzsche.  When Anabella first approached me about working with her on this new creation, she told me she wanted to examine what it means to be a choreographer, a dancer, a teacher, a mother, and an immigrant at this point in her life.  How have things changed?  What do all of these identities mean now?  Have they transformed over time?  How has her body changed?  What is the relationship for her to be both an artist and a mom?  What does it mean for her to be a woman?  Is it even possible to reach an objective “truth” by examining these questions?

 At the beginning of the rehearsal process we set up two video cameras – one mounted on the floor and one in the ceiling.  Both cameras were directly facing each other and projected on the wall behind.  Anabella would then stand in the middle of the cameras, and immediately there would appear three different perspectives:  Anabella’s image from below, Anabella’s image from above, and her actual body in the physical space.  My eye would dart back and forth between these fracturedimages.  Immediately, we began exploring how her body moves, looks, and feels in this set up; all with the intention of searching for answers to her questions of identity.

After some time, it became clear to me that the material being generated was falling into three categories: attempting to define oneself; physical changes; striving to fit in.  This realization helped create a structure and order for the piece.  The elements we began working with were  Anabella defining the space and her body, how her body has changed over time, searching for language to articulate herself, and, eventually, defining a new perspective of herself as a dancer, a choreographer, and a woman.  “No More Beautiful Dances” is a journey of Anabella attempting to reflect, react, and reveal a new “truth” about herself and where she is at today.  It’s a “truth” made up of fractured parts, of fractured languages, of fractured body parts, all in the hope of showing what it means to be a human being.


Daniel Pettrow is a director, actor, and teacher based in New York.  He frequently focuses on new and experimental creations while fostering collaborations with artists from different disciplines.

Daniel is a frequent collaborator with Anabella Lenzu, having directed IN PURSUIT OF HAPPINESS, PACHAMAMA, and SANGRE & ARENA.  He is an associate actor with The Wooster Group (since 2006) having performed in HAMLET, VIEUX CARRE, and WHO’S YOUR DADA?!.  He is a teaching artist at The Wooster Group’s Summer Institute. Daniel is an associate artist with multi disciplinary theater company Bluemouth Inc, performing in DANCE MARATHON, HOW SOON IS NOW?, and DEATH BY WATER.  He works closely with French director Arthur Nauzyciel, having performed Bob in Jean Genet’s SPLENDID’S, Cal in Bernard Marie Koltes’ BLACK BATTLES WITH DOGS, Roberto Zucco in ROBERTO ZUCCO, and Mark Antony in JULIUS CAESAR.  Daniel recently worked with renowned Italian director Romeo Castelluci, performing in JULIUS CAESAR: SPARED PARTS for FIAF’S ‘Crossing the Line’ Festival.  Daniel dances the role of ‘The Wolf’ in Isaac Mizrahi’s production of PETER AND THE WOLF at The Guggenheim for their ‘Works and Process’ series (since 2012.)  Daniel has performed in over 70 plays at International and Regional theaters.

Daniel is the assistant director and performer of the new creation THE PRINCIPLES OF UNCERTAINTY, a collaboration between Maira Kalman and John Heginbotham. The show premiered in Sept 2017, at Jacob’s Pillow, The Guggenheim, and BAM.  Daniel is the director of New York’s sketch group “Skinny Bitch Jesus Meeting”.  He also directed Marie Darrieussecq’s THE SEA MUSEUM for FIAF’s ‘Crossing the Line’ Festival.

 Daniel is the Communications Director and Drama Teacher for Heifetz International Music Institute (since 2013.)  He also is a guest teacher at NYU and other leading dance and theater companies.  For the past three years, Daniel has been a guest teacher and lecturer at THE BANFF CENTRE for their ‘Concert in the 21st Century’ program.  Daniel has collaborated with John Heginbotham as the drama director for YoungArts Miami (2015) and YoungArts LA (2016 & 2017).  TV:  “Red Band Society”, “Good Eats”, “Don’t Know Jack”.  FILM:  “In Stereo”, “Sweet Parents”, “The Cult of Sincerity”,  “The Last Adam”, “FightF*ckPray”,  “Psychopathia Sexualis”, “Kathy T”, “My Uncle Sidney.” http://www.danielpettrow.com

Make sure you come see NO MORE BEAUTIFUL DANCES on 

WEDNESDAY, MAY 30 and THURSDAY, MAY 31 at 7pm as part of La Mama Moves Festival at The Downstarirs Theater (66 East 4th Street, btw Bowery & 2nd Ave, New York, NY 10003) http://lamama.org/no_more_beautiful_dances/



Interview by Fernanda Ermelindo  (AL/DD Marketing  Intern)

In ”No more beautiful dances”, Anabella Lenzu takes a deep look inside herself to understand who she is at 42 years old. The piece, that started by her exercise of taking daily pictures of herself, is a journey into finding out where she stands now as a mother, artist and immigrant living in New York City.
”No more beautiful dances” will premiere on May 30th and 31st at La Mama in NYC.

FE: How did the idea for ‘’No more beautiful dances’’ (NMBD) first come to you?

AL: In July 2016, I went to Wilson College for my first summer retreat for MFA in Choreography. When I got there, I came to the conclusion that I had spent the last 8 years of my life without ever being alone. I was a shocked to think about that!

I realized that I didn’t know who I was anymore. I didn’t even know what it meant to be alone in the studio. Part of the MFA program required me to be in the studio 4 to 5 hours by myself, with no dancers, with no teacher, with no class.

So I found myself alone in the studio facing a big black board. On this big black board, I drew 3 circles with questions about myself. What does it mean to be a woman? What does it mean to be an immigrant? What does it mean to be a mother?

At first, I wanted to reconnect with Mother Earth, so I started calling this project Gaia, which means ‘’Mother Earth’’ in Greek. I wanted to make connections to who I am as a woman, as a mother, and as an immigrant.

So that’s how the idea to NMBD came- being alone and reflecting on those three circles I wrote on the board.

FE: Currently, themes like feminism and immigration have been in the spotlight more than ever before, especially in a city like New York. Do you believe this scenario had a part in the creation of this piece?

AL: Yes and no. I think immigration and feminism have always been a matter of discussion, but through the different work-in-progress showings of this piece, through the different cities, through the different venues, I’ve been hearing a lot of stories of other women’s birth, other people’s story of immigration, other people’s stories about trying to fit in, other people’s story about trying to discover who they were. So I can’t say that I was influenced by the news, but definitely by these personal stories.

Even though NMBD is my personal story and it’s autobiographical, I like to think the piece evolved to become universal.

FE: How does it feel to be performing after so long?

AL: The last time I toured with a solo show was in 2004. A lot has changed, for example my endurance and my concentration are not as strong. I respect my choreography less, because I tend to improvise. I’m not as good as I am in my memories (laughs)!

As a choreographer, choreographing for my dancers is a lot different than choreographing for myself because my body now has certain limitations. NMBD was born from my body, and not from anyone else’s body. So in a way, the piece reveals a new kind of dance because I am a new person. It’s not the dance that I like to see or the dance that I expected to see, it’s the dance that comes from an honest place of who I am, so it’s different than any other work I’ve ever done.

FE: As I see it, unlike most stage performances, NMBD is about the lack of masks. Who do we see on stage: the performer or the human?

AL: I think it’s both. Because it is a choreography, there is a lot of thought that goes into this…I’m not improvising, so in this way I’m creating a mask that is the choreography. The cameras are also masks as they show the things that I want people to see or not. But then again, here I am on stage telling a personal story.

So, I think sometimes the projections are the mask, but sometimes I am the one wearing the mask and the projections are the truth. It’s like when you look at yourself in the mirror: who do you see? ‘’You’’ or a representation of you’? Is the choreography me or is it a reflection of me? I like playing with that.

FE: Is this work just about Anabella or also about all the people, like your kids, that make you this particular Anabella?

AL: Again, it’s both. It’s both because, for instance, I decided to have the kids, but the kids changed who I am. And I can say the same thing about the collaborators and the mentors that participated in the process of this piece.

I get so much creative input from other people that one time my husband asked me ‘’Anabella, is this the show youwant to do?’’

I don’t know if that was the show that I wanted to create, but what I know is that it is the dance that I needed to do. It’s not a solo where I’m going to show all my tricks, for example. This piece comes from a vulnerable place. This is the dance that needs to come out; this is the ‘me’ that needs to come out.

At the same time, of course everyone that surrounds me is influencing me. There is a section in the choreography that I do what I call ‘’the mouth exploration’’. I was building this part as my daughter was playing downstairs and I could hear her trying to explore the sounds, so her exploration became a part of my choreography. This part is about me trying to speak, but at the same time it’s a thing that my kid did that I incorporated into the choreography.

FE: Can you compare the Anabella from before and after this process?

AL: Oh yeah. I think I was behind the scenes before this process. In everything…behind the scenes for my company, behind the scenes for myself… I was thinking of myself as a choreographer and a retired dancer, choreographing on other peoples’ bodies.

In my creative process, I give an idea for the dancers to improvise upon and then I edit the material. Over the years, when I look at the results I don’t even recognize that they are my dances.

I learned that the new ‘Anabella’ needed to be in sync with what I feel and with what I think. Without that, the product is not complete and fulfilled.

During this process, I’ve passed through many stages of fear. At first, I remember sitting on the side of the stage – because the show starts with a chair on the side – and I realized my heart beating fast. I would be so nervous! And that surprised me. I would ask myself ‘’Why am I nervous if I’ve been performing since I was 4 years old?’’ And then I understood that this was a new stage.

Even in the very beginning of the creative process, having the courage to photograph myself nude and to SHOW these photos to people!

I had never been a good ambassador of myself but I’m learning just to accept myself and to present myself to others in a different light. This process has been teaching me so much about who I am and why I do what I do. It is a challenge, but I am happy since it is helping me see myself in a new angle, a much more generous angle. I feel that now I have more compassion…for me and for others.

This process was like a new rite of initiation for myself at 42 years old.




BIG NEWS: So excited to announce that my full length evening solo show “No more beautiful dances” will world premiere on May 30 & May 31 at 7pm at La MaMa Experimental Theatre Club Moves Festival. http://lamama.org/no_more_beautiful_dances/
Get your tickets before it is sold out!!!!!

Blessed to collaborate with Todd Carroll as Video Projection designer, and be directed by Daniel Pettrow and Costume advice by Jennifer Johanos.

Eternal thanks to my mentors during this amazing creative process: #KateValk, Ariana Smart Truman, Siobhan Burke, Risa Steinberg, David Parker, Kristin Marting and #LeeSundayEvans.
Thanks also to Wilson College and my teachers: Joshua Legg, Robert K. Dickson, Jim Condron, Ed Woodham, James Scruggs, RoseAnne Spradlin, Josh Lubin-Levy, #JoeWinter, Yokoshi Yasuko, Melanie George and to Snug Harbor Cultural Center and Botanical Garden & HB West.
To my dancers Salvatore Cataldo, Dina Denis and Ambra Ext Togliatti for their creative support.

Can’t forget Nicky Paraiso for believing in me and my work! And finally to my super office assistants: Lianna Elizabeth, Alice Lambert and Fernanda Ermelindo and my family for always being by my side.



Hola Amigos,

Join me for the upcoming work-in-progress and photo/drawing exhibition on: Saturday, April 28th at 6pm
at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center & Botanical Garden in Staten Island. 
Dance Studio: G201 
(with a 5PM reception preceding the performance).
 LIMITED SEATING!!!  Tickets $10
During Spring 2018, I have been invited to be Artist in Residency for PASS: Performing Arts Salon at Snug Harbor Cultural Center & Botanical Garden to continue developing my new choreographic work “No more beautiful dances.” As a result of this magical experience,
I will perform a work-in-progress of “No More Beautiful Dances” and show 16 photographs and drawings. Don’t miss it!
“No more beautiful dances” wrestles with the ideas of exploration, introspection and reframing a woman after becoming a mother, and being an immigrant.  Lenzu’s dance theater piece uses drawings, spoken word and video projections to tell a personal vision of femininity, and what it means to be a woman today.

Choreographer and Dancer: Anabella Lenzu
Video Projection Design: Todd Carroll
Direction: Daniel Pettrow
Costumes: Jennifer Johanos