Roderick George’s “The Grave’s Tears” Confronts Erasure and Grief Through Dance

Choreographer Roderick George’s latest work, The Grave’s Tears, a poignant exploration of the HIV/AIDS epidemic and the ongoing erasure of LGBTQ+ communities, is receiving critical acclaim as it makes its North American debut at New York Live Arts, February 12–14. The piece evolved from his earlier work, Venom, which unexpectedly found its way to the stage thanks to Stanford Makishi, artistic director for dance at New York City Center [1].

From “Accidental” Beginnings to a Full Evening Work

George recounts that Venom was programmed for the Fall for Dance festival after Makishi attended an APAP performance of the work-in-progress, stemming from George’s DoublePlus residency at Gibney. The momentum continued when the curator of France’s “Born to be a live” festival, present at Fall for Dance, invited George to expand Venom into a full evening-length piece. The result, The Grave’s Tears, premiered last year with new music and a redefined identity [1].

A Career Forged in Europe and the U.S.

George’s journey as a choreographer and performer has spanned both Europe and the United States. He performed with Cedar Lake Contemporary Ballet and The Forsythe Company before establishing his own company, kNoname Artist, in Berlin in 2015. He returned to the U.S. In 2020 and has since garnered significant recognition, including the inaugural Jacob’s Pillow Men Dancers Award in 2024 and a 2025 Princess Grace Fellowship [1].

Research and Inspiration

The creation of The Grave’s Tears was deeply rooted in research, encompassing archival viewing, interviews, and physical exploration. George drew inspiration from films and plays such as We Were Here by David Weissman, The Normal Heart by Larry Kramer, How to Survive a Plague by David France, and For the Love of Friends by Cara Consilvio [2]. Rather than literal translation, he employed improvisation to process the emotional and somatic impact of these works, allowing history to resonate through the body as lived memory [2].

Expanding the Vision: Disco and Remembrance

In expanding Venom into The Grave’s Tears, George significantly developed the disco elements, incorporating a full disco scene to evoke club culture, glamour, and the spirit of Berlin. This addition serves as a powerful statement of continued existence and remembrance, emphasizing that even in absence, the spirit of those lost remains present [2].

Sonic Landscape and Scenic Design

Jace Clayton’s score contributes a haunting sonic landscape, skillfully manipulating iconic songs from the disco era. The scenic design features falling black ash, a deliberate choice to avoid the prettiness of snow and instead evoke the image of burial in unmarked graves [1].

A Rejection of Categorization and a Celebration of Movement

George embraces a diverse movement style, rejecting categorization and blending elements of Martha Graham, postmodern dance, improvisation, and ballet. His background includes studies at the Houston Ballet Academy, and he continues to engage with ballet, recently creating a new work for the New Jersey Ballet. He emphasizes the importance of inclusivity and seeks dancers who are caring, engaged with the world, and eager to grow within his creative culture [1].