as long as there is in me is my second ISHIDA performance, and I continue to be impressed by artistic director Brett Ishida’s commitment to storytelling and artistic excellence.
Her ability to weave poetic narratives through contemporary dance makes each performance a deeply immersive experience.
One of the standout aspects of ISHIDA’s productions is the use of music. It ranged from throbbing techno beats to eclectic soundscapes resembling scattered, abstract noises. These sonic choices create a visceral backdrop that amplifies the dancers’ movements and emotional intensity.
Another distinctive element of ISHIDA’s shows is the informal artist chats between acts.
These moments provide context for the pieces and offer audiences a glimpse into the performers’ personalities.
A particularly amusing exchange occurred when ISHIDA asked an Italian dancer if she had tried Italian food in Houston.
After a thoughtful pause, she replied, “I think I’ll wait until I return to Italy where I know the food is good.”
Moments like these humanize the performers and deepen the audience’s connection to the art.
The Performances
Waltz – Choreographed by Drew Jacoby
Featuring dancers Daniel Domenech and Thomas Martino, Waltz was a male duet brimming with power, vulnerability, and beauty.
The choreography balanced raw strength with a sense of intimacy, as the two dancers sculpted themselves into sharp, riveting forms.
Their execution was technically demanding yet fluid, demonstrating masterful control and expression.
It’s Happening Now – Choreographed by Mauro Astolfi

Astolfi, a renowned figure in the European contemporary dance scene, has developed a unique and ever-evolving movement vocabulary.
This piece, featuring dancers Mariangela Ferraioli, Chiara Pignataro, Sofia Fagioli, Renee Kester, John Canfield, and Sam Fine, was a striking commentary on the relentless noise and information overload of modern life.
The choreography captured the overwhelming sensation of hypercommunication, mirroring the anxiety it produces.
The dancers’ movements—frantic, layered, and at times chaotic—physically embodied the cacophony of modern existence.
In the final moments, one dancer found a brief reprieve, sitting silently in a chair, escaping the madness.
This piece resonated deeply with my wife, who felt it encapsulated her own daily struggle to find peace amidst constant distractions.
While I appreciated the thematic depth, the piece seemed to drag toward the middle. A tighter runtime could have heightened its impact, making the message even more powerful.
not your swan lake – Choreographed by Brett Ishida
A bold reimagining of the classic Swan Lake, this high-energy piece allowed both male and female dancers to shine.
Choreographed by ISHIDA and featuring dancers Sam Fine and Sofia Fagioli, it retained the essence of the original while introducing contemporary elements that made it feel fresh and urgent.
soul-writer – Choreographed by Brett Ishida

The final and most compelling piece of the evening, soul-writer, was a masterclass in storytelling through movement.
Featuring dancers Daniel Domenech, Thomas Martino, Juliet Doherty, Heriberto Menses Matachana, Amelia Shultz, and Clara Pignataro, the piece was infused with emotional weight, enhanced by ISHIDA’s stunning use of light and shadows.
The interplay between darkness and illumination added a haunting beauty to the performance, reinforcing its themes of memory, longing, and reconciliation.
Structured in five parts—Prologue: The Gathering, Scene I: Wife, Scene II: Sisters, Scene III: Mother, and Epilogue: Reconciling What Was Lost—the piece drew inspiration from 19th-century Spiritualism, where mediums facilitated connections between the living and the dead.
The narrative revolved around two estranged brothers who, after their mother’s passing, sought closure through a séance. Joined by a grieving husband and two sisters searching for their eldest sibling, the characters found themselves at a dreamlike dinner table, each yearning to recover something lost.
The choreography was exquisitely layered, with movements that conveyed grief, longing, and the fragile hope of reunion.
This performance lingered beyond the final bow, offering an evocative exploration of human connection and unresolved emotions.
Final Thoughts
Ishida continues to push the boundaries of contemporary dance, creating works that challenge, move, and inspire.
Her ability to blend narrative, movement, and sound into a seamless artistic experience is a testament to her vision.
The evening’s performances showcased an impressive range from raw physicality to introspective storytelling.
It’s rare to find performances that feel this personal and thoughtfully curated.
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Frederick J. Goodall is the Editor-in-Chief of Mocha Man Style, media spokesperson, event host, photographer, and a top social media influencer in Houston, TX. He likes to write about fashion, cars, travel, and health.