the piece incorporated the text of radical feminist writer Andrea Dworkin. Molly Hickok played the central role, starting a decades-long collaboration between her and Parson. The piece was also inspired by the writings Christa Wolff with text by Aeschylus, Pinter and Marguerite Yourcenar. It featured original music by Walter Tompson, performed live. Four monitors on the floor included footage of small scampering animal babies. The New York Times described The Gag as “a bouillabaisse of a theater-dance piece...There's a little Greek tragedy, a bit of Harold Pinter, a dab of Tennessee Williams and a large dose of fashion and comic high jinks.” Bremen Freedom (1993) Presented by the Cucaracha Theater, and originally made for NYU Students, Bremen Freedom, by the west-German playwright Rainer Fassbinder, told the story of Geesche, a woman so sick of being controlled by the men in her life that she methodically poisoned them, and ultimately herself. The Village Voice wrote that the production included “a little cabaret shtick, some cross-dressing, a few dollops of disjunction, plenty of stylized tableau-making, a pinch of Catholic imagery, several actresses playing the same role, a bit of lovely/creepy choral singing, and heaps of that unmotivated goofy dancing that made Brace Up such a hoot.” Although the reviews referenced some of the performative similarities to Cabaret, (Stacy Dawson as the Master of Ceremonies recalled Joel Grey), the Village Voice insisted that “these kids come on like innovators, not imitators, and they know how to deliver a spectacle piping hot.” Though highly choreographic, this work was the first “play” that Big Dance, a largely dance based company, had staged. Lucifer Kicking All Night Long (1994) City of Brides (1995) In 1995, Parson was featured in the Young Choreographers and Composers at the American Dance Festival in North Carolina. She was paired with composer Richard Einhorn and the two created “City of Brides,” performed by five barefoot women and accompanied by a complex score for piano, violin and cello based on Stravinsky's Les Noces. This would be the first “erasure” work, Parson's term for choreographing to a piece of music and then erasing it, so that while the music was never heard by the audience, the movement material that was inspired by his rhythms endured. The News & Observer wrote that “Parson is a talent to be reckoned with.” A reviewer for the Toronto Arts Journal CallTime wrote that Parson was the “most