refreshing voice among a new generation of choreographers,” and that her blend of dance and theater had “created a movement language which is accessible to any audience member regardless of age, race, gender, or previous knowledge of dance” The piece also played at the Dance Theater Workshop in NYC (1995), Fall for Dance Festival in NYC (2004), and the Spoleto Festival in Charleston, South Carolina. Hula Girl (1995) Don Juan Comes Back from the War (1996) Don Juan Comes Back from the War premiered at Classic Stage Company NYC in 1996. It was a joint production by the Classic Stage Company and the Cucaracha Theater, with Lazar and Parson as co-directors and her choreographing. The New York Times lauded their direction, writing that they had constructed a “witty and elegant interpretation” of Odon von Horvath's bittersweet play. The play follows Don Juan as he returns home from the first World War in search of his fiancé, who, unbeknownst to him, has died. Her ghost follows him throughout the play. Horvath, a Hungarian playwright who wrote in Germany until he fled the Nazis, set his play in the immediate aftermath of World War One, but the play is full of “philosophical jibes” at his enemies. Parson and Lazar animated these ideas with “highly stylized choreography and musical arrangements” (by Christopher Berg) that allude to both Don Juan and popular German music of the 1920s. The result might have annoyed Horvath, who was notoriously fussy about staging, but they probably let an American audience grasp his meaning, and certainly his moods, better than any more literal presentation could." The Gas Heart (1997) “The Gas Heart” (1921) is a Dada “classic” by Tristan Tzara, one of the founders of that movement. In the Big Dance rendering of the play the fierce comic, lyric text comes vividly to life with a staging that is distinctly choreographic and choreography that is distinctly theatrical. It is as if Tzara wrote the play for the Big Dance Company. From NYTimes review “...The comic triumph Here is The Gas Heart, by Tristan Tzara, a witty Dadaist take on avant-garde sophisticates working, flirting, effortlessly executing impossible dance steps, looking as classy as Cecil Beaton portraits and exchanging superior sounding banter that is utter nonsense. Few Dada plays survive; this one is exquisite and exquisitely performed.” A Simple Heart (1997) This dance-theater adaptation of Gustave Flaubert's A Simple Heart follows