Convergence at Parsons Theatre Marks Decade of Showcasing Colorado’s Dance Diversity

Jessica Riggs never imagined she’d still be producing Convergence in Denver ten years later. Back in 2015, when her fledgling Life/Art Dance Ensemble launched the first Convergence with just three participating groups at a tiny theater in Denver’s Five Points, it was more an experiment than a long-term plan. 

“I don’t know if I thought I’d still be doing this after ten years,” Riggs says. “The first year, we were just kind of like, ‘What would this be like? Will this work? Will people want to do it?’ And then, we realized that yes, people would want to do it. Actually, I don’t think I ever thought about whether we would be doing it ten years later, but now it seems like there was never any other choice.”

That realization that Convergence has become a cornerstone of the Colorado dance calendar sets the stage for Convergence 2025, the tenth annual edition of the grassroots cost-sharing performance series at Northglenn’s Parsons Theatre. On October 10 and 11, twenty different companies and individual artists will share not only the stage but also the costs for three shows featuring an eclectic mix of styles, from contemporary ballet to Flamenco and tap. 

Each performance boasts a different lineup, meaning audiences can attend more than once and always encounter a fresh array of work. “This is our third time doing that,” Riggs says. “I try to keep the show to two hours or less. We get more and more folks who want to participate, but I don’t want to necessarily increase the length of the show, because that’s a long show … so each show is different, and then the audience can come see two shows if they so desire.” 

The secret to Convergence’s endurance is its unconventional production model. Riggs and Life/Art started the series in response to the steep costs of putting on a professional dance concert. Renting a theater, securing technical staff and covering production expenses can be prohibitive for smaller companies and independent choreographers. 

Convergence turns that math on its head: each participating artist contributes a portion of the cost up front, proportional to what they can afford. Ticket sales are then redistributed according to the same percentages, often allowing groups to not only break even but even make a profit—something nearly unheard of in self-produced dance concerts. 

“You usually get back double what you put in,” says Kaitlyn McMorran, executive director of Rocky Mountain Rhythm, whose group returns to Convergence for the fifth year. “We’ve been making money on this show for the last several years that we’ve been a part of it, which doesn’t always happen when you’re putting together a show yourself.”

For many companies, that support is a lifeline. “It’s extremely expensive to try to run a production on your own,” says Ixchel Levendosky of Fort Collins’ Heartbeat Ballet. “Currently, for my company, this is the one theater production we’re doing per year right now, so this is our one opportunity to get into a real theater, and I so appreciate that Jessica provides this opportunity for us.” 

Convergence also provides professional photos and video documentation to each group, a cost-sharing perk that helps companies with grant applications and promotional materials. The community aspect, though, is just as valuable as the finances. 

“I just love this show and being in the same show with all these amazing choreographers,” says Beck Allen of Animus Movement. After relocating from New York City, Animus made its Colorado premiere at Convergence in 2022. 

“We love being in Convergence,” Allen says. “It was our first show here, so it was great to be able to meet everyone. As we keep doing it, we’re still meeting new people while seeing old faces; it’s just great to have a show with everyone in the community. And cost-sharing-wise, it really helps. I try to do at least one show a year, producing it myself, but then I try to be in other shows with other people. Convergence makes it fun and easy to participate.”

That sense of connection resonates across participants. “Our favorite part is always seeing the other people in the dance community,” adds Elena Kramda of Denver Aerial Dance Collective. “I really enjoy feeling like part of the community in Denver and seeing the people that I know that I don’t get to see all the time, and then also getting to know new people in the dance community. The variety of performers kind of shows me what else we have in the dance community that maybe I didn’t know.”

This year’s lineup reflects that variety. Riggs notes that ninety performers will take part, representing twenty groups and presenting 26 different works. 

“There’s going to be a bit of modern dance and contemporary dance,” Riggs says. “Half of us are new this year, which is great. We have tap, hula hoop, maybe a little performance art in here, Flamenco, Bolivian ballroom and ballet.”

Life/Art’s contributions alone range from the poignant, such as “And I Think to Myself,” a ballroom-style duet that dramatizes the decline of a partner with dementia, to the playful, like “Beach Bum,” featuring a dancer in flippers.

After ten years, Riggs has developed a rhythm for wrangling the growing roster of companies and coordinating three distinct programs. The work begins in March with the application process, giving groups time to plan their seasons and budgets. By October, it all comes together in a whirlwind of rehearsals and performances. 

“It’s getting easier to put the show together, but it’s quite the job managing everybody,” Riggs admits. “Then, when our numbers get this big, there are more people to corral. But I’ve got my kind of pattern, so that’s making it easier. Every year it’s very exciting, and I’m glad that everybody looks forward to it.”

That sense of momentum isn’t lost on the dancers who return year after year. For many, Convergence has become not only a performance opportunity but also a rare chance to connect with colleagues across genres. As McMorran of Rocky Mountain Rhythm notes, the effort Riggs puts into coordinating such a sprawling production doesn’t go unnoticed.

“We’re just really grateful for Jess and what she does with us every year, because it’s a huge undertaking,” McMorran says. “There are twenty of us to wrangle this year, and sometimes it’s hard just to wrangle your own company, so I’m super grateful for this. We really think all of these different groups coming together is essential to building the dance community in Denver, so that the fact that we’re all able to do this one massive show is really awesome for the community.”

Convergence 2025 runs Friday, October 10, at 7:30 p.m. and Saturday, October 11, at 4 p.m. and 7:30 p.m. at Parsons Theatre, 1 East Memorial Parkway, Northglenn. Tickets are $30 for adults and $20 for children under 12. Because each show is different, a “Two-fer” ticket can be purchased for a discounted price. Learn more at www.lifeartdance.org.