Roderick George’s ‘The Grave’s Tears’: From Accident to Acclaimed Dance Work

Choreographer Roderick George’s deeply personal work, The Grave’s Tears, a full-evening expansion of his 2024 piece Venom, is making its North American debut at New York Live Arts February 12–14. The project, born from what George describes as an “accidental” programming decision by New York City Center’s Stanford Makishi, has quickly gained momentum, leading to an invitation to expand the work for France’s “Born to be a live” festival. The piece grapples with themes of the HIV/AIDS epidemic and the ongoing erasure of LGBTQ+ communities, offering a powerful and moving experience for audiences.

The initial spark for Venom came during George’s DoublePlus residency at Gibney and Makishi’s attendance at an APAP performance of the work-in-progress proved pivotal. That single viewing led to the piece being included in City Center’s Fall for Dance festival, a platform that ultimately opened doors to further development and international recognition. George, who founded his company kNoname Artist in Berlin in 2015 after performing with Cedar LakeContemporary Ballet and The Forsythe Company, returned to the U.S. In 2020 and has since been recognized with the inaugural Jacob’s Pillow Men Dancers Award in 2024 and a 2025 Princess Grace Fellowship. Stanford Makishi currently serves as VP & Artistic Director, Dance at New York City Center.

Research as Embodied Memory

George’s approach to The Grave’s Tears wasn’t about direct translation of historical events, but rather a deeply immersive research process rooted in archival viewing, interviews, and, crucially, physical response. He engaged with films like David Weissman’s We Were Here, Larry Kramer’s The Normal Heart, David France’s How to Survive a Plague, and Cara Consilvio’s For the Love of Friends. “Rather than translating them literally, I used improvisation to process what I absorbed emotionally and somatically—images of falling bodies, brittle bones, lifelessness, and spiritual rupture—allowing history to move through the body as lived memory,” George explained in a recent interview. This somatic approach underscores the work’s intention to not simply recount history, but to embody its emotional weight.

Expanding the Vision: Disco and Remembrance

The expansion from Venom to The Grave’s Tears wasn’t merely about adding length. it was about deepening the emotional landscape and amplifying specific elements. Notably, the disco scene underwent significant growth. Where Venom featured a single disco track, The Grave’s Tears boasts a full scene dedicated to the energy and spirit of club culture. “I wanted to create club culture, the glamour, the spirit,” George said. He also sought to evoke the atmosphere of Berlin, “that dark, gritty essence, to give that emotional charge, as if to say ‘I still exist and I am here.’” This sentiment encapsulates the core of the piece: a defiant assertion of presence in the face of loss and erasure.

The sonic landscape of the work is equally crucial, crafted by Jace Clayton, who deftly manipulates iconic songs from the disco era. George emphasizes the presence of “a ghost inside of this work,” with songs being repurposed to encourage audiences to reconsider their relationship to familiar tunes. He even incorporates his own voice into the performance, singing Prince’s “Sometimes It Snows in April,” a deliberate choice to further personalize the experience and connect directly with the audience.

A Landscape of Loss: Black Ash and Movement

The visual elements of The Grave’s Tears are striking, particularly the utilize of what appears to be falling dirt. However, George clarifies that it is, in fact, black ash. He consciously rejected the idea of using snow, finding it “too pretty.” Instead, the ash serves as a stark visual metaphor, evoking the image of being “buried in unmarked graves.” This deliberate choice underscores the themes of anonymity and the forgotten lives lost to the epidemic.

George’s movement style is described as generous, drawing from a wide range of influences. He actively resists categorization, embracing a “gumbo of movement” that incorporates Martha Graham, postmodern dance, improvisation, and ballet. His background includes studies at the Houston Ballet Academy, a formative experience that continues to inform his work. Despite facing challenges related to his height within the traditional ballet world – he is 5’3” – George maintains a deep love for the form. A mentorship with William Forsythe further solidified his artistic vision, with Forsythe famously telling him, “You will always be the prince, you are six feet tall, you are amazing.”

Continuing a Dialogue with Houston

George remains actively involved with his alma mater, Kinder High School for the Performing and Visual Arts in Houston, having created seven works for its students. He emphasizes the importance of giving back to the institution that nurtured his early artistic development. “I have to. I can’t thank HSPVA enough for opening up my mind,” he stated. He credits LuAnne Carter, the dance director at the time, with fostering a culture that empowered him to see the world and embrace his own potential.

Seeking Connection and Inspiration

When asked about the qualities he seeks in dancers, George prioritizes those who are “caring people who are involved with the world, who seek to grow and be part of the culture that I have created.” He values artists who inspire him and enhance the collaborative environment within his company. He also acknowledges the element of serendipity in the casting process, expressing a consistent sense of luck in the artists he encounters.

What’s Ahead for The Grave’s Tears and Roderick George?

Following its North American premiere at New York Live Arts, the future trajectory of The Grave’s Tears remains open. George’s commitment to both creating new work and continuing to engage with the dance community suggests a busy period ahead. He is currently balancing his roles as a choreographer, performer, and educator, and expressed a desire to return to Houston to dance in his hometown. His recent successes – the Jacob’s Pillow award and the Princess Grace Fellowship – undoubtedly provide a strong foundation for continued artistic exploration and innovation. Ailey has also featured his work in their 2025-26 season.