Dragon's Egg Studio
Dragon's Egg Studio
Dragon's Egg Studio
Dragon's Egg Studio
Dragon's Egg Studio


Clare Byrne Residency


This is what Clare says, after her departure from a few dynamic days at the Egg, which culminated with a work in progress showing on Dec. 21st.  


“We were just delighted to work on a first sketch of “chthonic” at the Egg. So grateful to be in the space with its march of light and shadow – its levity, depth, color, joy and silence – in the swing of light and dark –  at the time of year. And to work out some primal energies!


So amazingly helpful to show this to a small wonderfully receptive audience, too.
thank you Marya and Dan,  and Egg community  – from Clare, Avi, Marc, Bridget, and Randal.”

Taylor Donofrio at the Egg


Egg Holiday Bazaar is December 11th

Holiday Bazaar at the Dragon’s Egg 



Sunday, December 11th, 2016, from 1 – 4 pm!

401 Shewville Road, Ledyard (directions on the website: www.dragonseggstudio.org)


There will be crafts, jewelry, soaps, ceramics, books, clothing, fabric, singers, tarot reader, chair massage, poets, dancers – and, hopefully – You!!



Please do join us.  If you have any question, contact marya at mybeasts@aol.com


Clare Byrne at the Egg

There will be a viewing of work in progress by Clare Byrne and friends on Wednesday, December 21st, at 5 pm.  Please join us!  by donation. 


Clare Byrne returns to the Egg for her yearly winter holiday residency with Vermont composer Randal Pierce and Vermont dance artists Avi Waring, Marc Wennberg, and Bridget Wheeler to jumpstart at new collaboration tentatively titled “chtonic.”  Chtonic means “in the earth, subterranean,” often referring to its origin in Greek mythology and rituals of sacrifice honoring deities of the underworld. The experiment and dramaturgy will involve considering the Greek god Hades, his abduction/rape of his sister Demeter’s daughter, Persephone, who despite her protestations and through his deviancy became the Queen of the Underworld – as well looking at other underworld archetypal masterminds of deviancy like Lex Luther as played Gene Hackman in the 1978 movie Superman.

The entrance to Hades’ underworld for the Greeks was the Cape Matapan Caves on the southern tip of the Greek mainland. For the Romans it was a volcanic crater Avernus, west of Naples. For Lex Luther, it was through abandoned subway tunnels below New York City’s Park Avenue. A nascent thematic thread runs through: of re-purposing abandoned spaces, of found objects as instrumentation, and a re-purposing of canons of stringent, elemental, feral dance movement. 


Elm City Dance Collective in Residence at the Egg!


In the house!!   December 2 – 4.  Yay!


Elm City Dance Collective was formed in 2008 by four dance artists—Lindsey Bauer, Jennifer Brubacher, Kellie Lynch and Emilia VandenBroek—with the intention of creating a stronger, more vibrant home for contemporary dance in the greater New Haven area. The founders envisioned a non-profit organization that would create unique contemporary dance experiences in New Haven such as classes and workshops for movers and non-movers alike; after school programs for middle school age children; open studio showings and improvisation jams; and innovative dance productions that inhabit traditional to non-traditional spaces. ECDC has extensively performed throughout Connecticut and New England and has been presented by the Mystic Aquarium, the International Festival of Arts and Ideas (New Haven), Charter Oak Cultural Center (Hartford), Rhode Island College, Roger Williams University (RI), Frazier Festival (Providence), Creative Arts Alliance of Baltimore, Artspace New Haven, The Arts Council of Greater New Haven, and the Department of Traffic and Transportation to name a few. ECDC has received state and local funding from The Connecticut Office of the Arts, The Community Foundation for Greater New Haven, The Arts Council of Greater New Haven and The City of New Haven’s Department of Arts, Culture and Tourism to support the creation of work and services the organization provides for the community. 



ECDC is committed to contributing to the presence of dance as an accessible public art, collaborating with artists and organizations in the New Haven area, providing performance opportunities to professional and sometimes non-professional dancers. The organization welcomes partnerships, collaborations and projects outside of the New Haven region as well as within the region. www.elmcitydance.org

Mid Winter Acro Yoga at the Egg

Acro Yoga Winter Warm-Up!

Workshops at Dragon’s Egg in Ledyard CT

401 Shewville Rd, Ledyard CT
New 4 week series added!

$25 per drop in or save with all 4 weeks for $85!

Register: https://squareup.com/store/molly-heart-yoga


6-8 pm Thursdays
December 22

December 29

January 5

January 12


Warm up this Winter and play at this fun yoga workshop! Expand your practice, increase your strength, stamina and confidence. Hone your body awareness, strengthen the core, and improve your balance with a yoga flow, and then it’s time to play! Learn to go upside down with inversions like handstands and headstands. Fly your partner and be flown! A safe, community atmosphere for ages 11+, from newbie to seasoned yogi.

Register online : https://squareup.com/store/molly-heart-yoga

Contact mollyheartyoga@gmail.com or call 860-961-8627 for questions.


Molly Murkett Bruno is a yoga teacher passionate about incorporating recreation and relaxation into a healthy lifestyle. She integrates positive intention into yoga classes to empower students for personal development and improve the quality of life. She teaches restorative, gentle, vinyasa, and acro yoga at studios and locations in Southeastern CT.

Gina Bonati returns to the Egg, with Elizabeth Schmuhl

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Gina Bonati was born in New Orleans, lived various places and finished high school at Mission High in San Francisco. In 1981 she moved to New York City to attend The Juilliard School. She studied with Hanya Holm, Anna Sokolow, Hector Zaraspe and Alfredo Corvino and was allowed by special permission of Harold Stone to be part of the drama department where she studied with John Stix and Timothy Monich. She studied music with Robert Dennis and Theater History with the philosopher, Maurice Vallency.  She studied acting with Sharon Chatten for 6 years.


It was while attending Juilliard that she discovered the anathema wage earning world of go-go bars and danced scantily clad all over New Jersey, New York City, Queens and Brooklyn in The Baby Doll, The Pussycat Lounge, Gallagher’s, Billy’s Topless and The Wildfire.


She has been creating her own work since 1982 in dance, language and installation. Titles include Emergence Sea, Hunger & Visits (H&V received critical acclaim from Jennifer Dunning of The New York Times), The Miraculous Development of a Child, Bird #1 through 8. Collaborators include Kenneth King, Elizabeth Castagna, Paul Skiff, Ellen Harvey. Works have been presented in New York at The Kitchen, Dancespace at St Marks Church, DIA Foundation for the Arts and have traveled to Mexico, Denmark, Sweden and Italy. A modest selection of her work is in the dance collection at The Lincoln Center Library for The Performing Arts.

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She writes poetry and poetry stage and screenplays, sings and; recites with music and musicians, paints and draws, studies voice, singing, speech, piano and music in a few ways including improvisation, composition, literature, history and theory.


She was a member of Kenneth King and Dancers, Sally Silvers and Dancers, Errol Grimes Group, Alan Good Dance, Jane Comfort Group, Wyoming and Otux. 



Amongst her astonishingly fortunate opportunities, she has had the privilege to attend company class in both The Merce Cunningham Dance Company and American Ballet Theatre. She is a member of the Actors Studio. She is a teacher.



She holds a BFA in Dance from The Juilliard School, an MFA in Dance from Mills College and is pursuing a second MFA in Music from The Mills Music Department and Center for Contemporary Music.

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Elizabeth Schmuhl is a multidisciplinary artist who trained with Eileen Cropley –Martha Graham & Paul Taylor Companies – and went on to work with artists such as Lauri Stallings, Peter Sparling, Alonzo King, and many others.  She has performed works by Paul Taylor including Esplanade, Promethean Fire, Scudorama, and The Rite of Spring, and creates movement video poems in collaboration with other artists. She has written grants for Gallim Dance, and will study at her second Batsheva Intensive this winter with Ohad Naharin. Her genre-bending text, Presto Agitato: A Dictionary of Modern Movement (Dancing Girl Press & Zoo Cake Press) seeks to communicate and embody the connections between language, music, and movement. She frequently writes about dance, movement, and performance for Michigan Quarterly Review.


Residency: The Shapes We Make With Our Bodies


The Shapes We Make With Our Bodies Cover

The Shapes We Make With Our Bodies
by Meg Whiteford
Honey, our protagonist, is on the run from both her past and her present; avoiding questions about love, bodies, language, and the extents of all three. But her friends—the impish Maenads—refuse to just let her escape.The Shapes We Make With Our Bodies is a feminist, queer, maximalist piece—spanning caves, hills, courtrooms, and kitchens—about a woman torn by her desires, unwilling to bend to the needs of men, yet hesitant in the face of her wildness.

Meg Whiteford (Playwright) is an author, essayist, and critic. She is a contributing writer for ArtForum and a the Managing Editor of the Art Book Review. She has shared writing with RedCat Theater, Harlequin Creature, Aperture Magazine, Steve Turner, PAM, Pieter Space, MAMA, The Torrance Art Museum, Coaxial, WCCW, and 356 Mission in LA; Pocket Utopia in NYC; and Living Copenhagen in Copenhagen, Denmark. She is a 2015 Juniper Scholar, a 2015-16 REEF Residency awardee, and winner of the 2016 Madeleine P. Plonsker Emerging Writers Residency Prize. Her play, The Shapes We Make With Our Bodies, was published in November 2015 by Plays Inverse. A full feature of this work will be produced at The Hive in Brooklyn, NY in February 2017. Her first novel is scheduled to be published in 2017 by &Now Books. 


Colleen Hughes (Director) is a Brooklyn based freelance director. New York credits include: Jelly Bean Junkyard by Sean Pollock (Under St. Marks), workshop of The Plucked Dove by Sam Kahler (The Hive), Year One by Logan Porter (Manhattan Repertory Theatre), Chatroom by Enda Walsh (The Hive), Let Them Eat Cake by Ted Malawer (TinyRhino), Humorless by David Susman (Thespian Productions), Frankenstein by Mary Shelley, adapted by Rob Reese (staged reading, Treehouse Theater), and Germs by Catia Cunha (Grex Group). Other credits include: Origins devised by the Company (JCTC), Disco Pigs by Enda Walsh (A.R.T.’s Oberon), Poke by Bill Doncaster (SHOTZBoston), and Personal Penchants by Barbara Lhota (Open Theatre Project). Her assisting credits include 12th Night by William Shakespeare, directed by Shira Millikowsky (A.R.T. Institute), A Great Wilderness by Samuel D. Hunter, directed by Braden Abraham (NPC, Eugene O’Neill Theatre Center), and Death of a Salesman by Arthur Miller, directed by Phil Soltanoff (Skidmore College). Training: Skidmore College and the National Theater Institute. Colleen is also the Community Outreach RepreColleenHeadshotsentative at Signature Theatre. www.colleenehughes.com
Reviews of The Shapes We Make With Our Bodies:

Praise for The Shapes We Make With Our Bodies:
“Meg Whiteford, a bold new voice, moves us forward by returning us to a theatre that isn’t afraid of dramatic poetry, shapeshifting characters, plots motored by comic metamorphoses, and endings vibrating with tragic loss. She is a 21st century risk-taker, inspired by the daredevil predecessors that startled previous centuries into recognizing the stage as a fluid dream.” – Charles McNulty, chief theatre critic for the Los Angeles Times

“The Shapes We Make With Our Bodies is a guide for a brutally funny flesh-and-blood cartoon that is, in part, about recovery. Yoga, therapy, shrooms, witchcraft, Tarot, sacrifice: Meg Whiteford slants each into off-kilter rituals that, like her rich and wily stage directions, member and dis-member the play’s world, along with our heroine Honey’s sense of self. In this way, the play itself plays Maenad, even as there are Maenads in its pages—tearing through a lurid country of horror film references, broken memories, puns, remixed Herculean labor, and spas—lyric, wild, and murderous.” – Douglas Kearney, author of Patter

Abby Levine in the house!

Beginning right after Thanksgiving, Abby Levine will be returning to the Egg for an artistic residency.  Here is what she says about her project.  

I understand the body as something that cannot fully abstract, cannot turn into lines and movement, cannot lose its referents to the world. This is the condition—constraint and richness—of working formally with dance. Music, by contrast, is often spoken about as an unavoidable abstraction. A musician may try to represent something through sound, but there will be an inevitable loss of legibility. Composer and fiddler Cleek Shrey and I have been discussing the term “gesture,” the different ways it is thought about in contemporary experimental music and dance. This shared term serves as a way to speak across the different relationships to abstraction and representation in our disciplinary forms. Gesture carries connotations of expression and communication. We consider these more traditional valences, as well as other possibilities, including composer Denis Smalley’s more open idea of gesture as “the trajectory of an object through time.”



Our proposal is to begin from music and dance’s different understandings and assumptions about gesture, and to trade techniques and conventions to create a shared language that unsettles both. Cleek is a striking physical presence when he is playing. The functional work of his fiddling is both sculpturally complex and evocative. In recent collaborations with composers, I have experimented with making choreographic choices starting from the sound they produce. I create physical forms in which weight and shape are determined first by sound and rhythm. We will experiment with these incursions into each other’s visual and sonic territory, looking to create a cross-pollinated (or maybe polluted) gestural language that neither denies expression nor settles in representation.



Continuing my ongoing experimentation, we will work with a reduced sound and movement palette, interested in exposing the frictions and correspondences of each of our contributions and making visible the accidental expressiveness that emerges from forms over time.

Elizabeth Seldin at the Egg

Eliz seldin


We took What Haunts You, a new play by Elizabeth Seldin to the Dragons Egg in October 2016.  The play explores the worlds of the 1920s and 1960s as experienced through ghosts in a theater called The Imperial Theater. 


As a cast and creative team, getting to sleep, eat and play together was so helpful as this is what the play focuses on; artists that function day in and day out together.  The wide open space of the yoga studio provided an fertile ground for us to do group warm-ups, learn the Charleston and explore on all three levels how the ghsots move.

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At one point we turned off all the lights and had a single flashlight, with Robert Frost improvising old creepy music we got to really explore how creepy it was to be a spirit trapped in a theater. 

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Since coming back from the Egg I have been able to process all of that which we found and this is launching the whole show into an amazing direction wherein we wish to have a full production by the spring of 2017. 

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