Louise Reichlin Dancers/Los Angeles Choreographers Dancers is augmenting its core company for a revival of the complete Tennis Dances, in celebration of our 35th year. The complete work was last performed in 1998. They might also be in the video and live work Tap Dance Widows Club. Performances at Bootleg Theater in LA. 

Dancers should have modern/contemporary, strong ballet and jazz background,     strong stage presence, expressiveness, musicality, and technique. Floor work is     important. Tap is useful if the other areas are strong, but not required. All ethnic types. Pay for performances.

Call for audition appointment. General rehearsal times are Sunday 10-1, Tues 10-1 and Thurs 10-1. Right now, Sunday is the most important day. Tech in the theater begins Tues afternoon on 4/7. No evenings until performance.

To see some of the styles look at

The link for The Tennis Dances is:

The link for a short showcase version of Tap Dance Widows Club is:

Website: You can also call 213-385-1171 or e-mail [email protected] for more information and audition appointment. 



"Louise Reichlin created a sensation with The Tennis Dances." Dance News

"Clever evocations of theatre dance styles...everything from Fokine and Graham to Bejart and beyond, all unfied by rackets and nets and tennis balls." Los Angeles Times

"Among the group pieces, Louise Reichlin's Tennis Dances, for a dozen members of Los Angeles Choreographers Dancers, had to be the most provocative. A potpourri that vaguely satirizes pomposity, exoticism, period cutesiness and contrived elegance, that probes ancient mystery and indulges contemporary whimsy - all with the unlikely but clever metaphor of racquets and nets." Los Angeles Herald Examiner

"(The program) ended brilliantly, thanks to Reichlin's Tennis Dances, which dates back to 1979. In this ten-part suite the tennis court becomes a metaphor, of course, for life's stage. And life, as Reichlin sees it, is indeed a stage, one crowded with a broad spectrum of attitudes. ...Here is a choreographer who arguably picks up the feminist point of view where Isadora Duncan and Ruth St. Denis left off. To observe the universe as it is inhabited by women, she harks back to ancient times and mythic symbols." DanceMagazine