Lean-to (2009) is a 24-minute trio based around both a physical and metaphoric construct. An 22-foot set arcs out over the dancers as they both search for and refuse support, evoking a world of subtle signals that build, interlock and explode. Composer Michel Galante's extraordinary score was played live at work's premiere by Argento Chamber Ensemble.

"This is eroticism in its primal, devouring purity - challenging, at times ambiguous, and infinitely complex. No one else is making work quite like hers."  Deborah Jowitt, The Village Voice, 2009

Credits: Lean-to is made possible, in part, with funds from the 2008-2009 Danspace Project Commissioning Initiative with support from the New York State Council on the Arts and the Danspace Creation Fund. Additional support has been provided by generous grants from The O'Donnell-Green Music and Dance Foundation and The Greenwall Foundation.

Sinnerman (2007), a 10 minute male solo, explores the desire to be seen behind boundaries of masculinity, bravado and control. Set to Nina Simone’s "Sinnerman” the solo shows a powerful and sensual man beset by doubt before a triad of vibrating women. "A loner who thought he had the stage to himself was felled by three female ghosts." San Francisco Bay Guardian

• Choreography: Kate Weare
• Dancers: Adrian Clark with Leslie Kraus, Lindsey Dietz Marchant, Kate Weare
• Music: Nina Simone "Sinnerman"

Foregone (2007) is a 5 minute duet set to a Bluegrass song for women bound together through a strict and tender course of living. Based on the lines of Shaker design, the choreography is precise, spare and direct. "...one dance to make you sigh with feeling, a sweet duet of sorority with the fabulously dramatic redhead Leslie Kraus." San Francisco Chronicle

• Choreography: Kate Weare
• Dancers: Leslie Kraus, Kate Weare
• Music: Gillian Welch "I’m Not Afraid to Die"

Dirt (2005) is a 4 minute solo exploring female submission. With variations on bowing, prostrating and kneeling, the movement employs the horizontal plane to express an experience both abased and powerful.

• Choreography: Kate Weare
• Dancer: Leslie Kraus
• Music: Wolfgang Capellari

Wet Road, (2006) is a 40-minute work for four dancers (two women and two men) and a female witness /observer. Envisioning the body as obstacle and pathway - a site of hazardous entrapment and source of irresistible pleasure - the movement language emphasizes leg trapping, fragile balances and a shared central axis. Wet Road imagines mating as an intensely danced dream-like blend of lust, trust, tenderness and threat.

• Choreography: Kate Weare
• Dancers: Adrian Clark, Leslie Kraus, Jason Dietz Marchant, Lindsey Dietz Marchant and Kate Weare.
• Music: Katie Down (original)
• Lighting Designer: Joe Lavasseur
• Costumes: Astrud Angarita

The 3 part work explores the shifting power dynamics that weave through any passionate "intercourse" or dialogue between the sexes.
"…a beautiful duet, tender and curious…complex images of doubt, insecurity and fear which run through them like the tides that are a part of love.” Deborah Jowitt, The Village Voice (2005)

• Choreography: Karl Anderson and Kate Weare
• Dancers: Karl Anderson and Kate Weare
• Music: Lhasa, Fred Frith, Karinne Keithley
• Length: 14 minutes

Dance film based on the allegory in Plato's Symposium of the original co-joined humans made up of both man and woman who were punished by the gods and cleaved in half, thus creating our fevered urge to reconnect and become whole again.

• Improvisation: Levi Gonzalez and Kate Weare, 2001
• Direction and Editing: Kenji Ouellet
• Music: Steve Reich
• Length: 7 minutes

A duet exploring the struggle for power, both predatory and erotic, between two androgynous characters in the generic symbol of ambition – a business suit.
This duet was nominated for San Francisco's Isadora Duncan Dance Award in the category of Choreography.

• Choreography: Kate Weare, 2000
• Dancers: Ada Shedlock, Kate Weare
• Music: Meredith Monk, Steve Riech,
  George Gershwin
• Length: 20 minutes