INTERVIEW WITH halley Willcox of Methods of Madness Dance Theater (AZ)
BBD|WT are pleased to be welcoming Methods of Madness Dance Theater to Missoula as they premiere their newest evening-length work on the Westside Theater stage.
We sat down with Director Halley Willcox to learn all there is know about the premiere of Glitter & Doom. From pop songs to props and projection, here's a little inside scoop on what to expect this weekend!
Us: “Glitter & Doom” is such a striking and evocative title. Can you share how this work first began and what ideas or experiences sparked the creation?
Halley Willcox: As an individual, I was thinking about the stresses felt in the world, and the USA specifically. I wanted to make a work that addressed those feelings, but also was approachable and maybe even a little funny. I was curious about how I could make something that talks about the state of the world today, but does so through metaphor, poetics, and also offers a solution or encourages the audience to seek a solution.
I was on a mission to make something that was campy and satirical, but was also serious and a little bit sentimental. I also knew I wanted to approach the work through a sci-fi lens. One rehearsal, I brought a bunch of old sci-fi Pennyback books, and everyone chose excerpts, and some of the language and structures from the show were inspired by these stories. A few other structures have been developed around ideas of time travel and my interest in the long jump. We had probably two full rehearsals where we did long jump explorations that later turned into a portion of the piece. I don’t mind taking my time if that's what the idea needs.
Us: Are you trying any new ideas with this work?
Halley Willcox: In this project, I am approaching a lot of skills, concepts, and ways of making that are new for me, and taking a lot of risks that I haven’t done before. This work was developed in a completely non-linear way. It felt as though each section of the work was a piece of grass that all grew up at the same time — blooming simultaneously, slowly. Because of this, I’ve had to approach the work in a more patchwork style.
Another thing that is different about this work is that there's an 8 to 10-minute film that exists within the piece. We came to a point where we had done all the magic I wanted to do within the stage space, but it still felt like we needed moments that were not possible through live performance to continue the story — I chose to do that through film. It was interesting to try to stay consistent with ideas, themes, and concepts because we filmed the videos over six months ago. Throughout the editing process, I had to ask myself, “How does this film sit in the middle of this bigger idea, and how can I bridge the gap between the live performance and the film to make it one fabric?”
Us: In the show description, it says you blend ambient sounds with pop music throughout the performance — what made you want choose that specific sound range, and how does the use of sound help shape the dancers’ journey?
Halley Willcox: I love to use a pop song! Doesn't everyone love a pop song?!
In this piece, though, we do have a couple of callbacks to Britney Spears. It’s an intentional and subtle way to shed light on Britney's story regarding her potentially losing some of her rights as an individual and then regaining them. Which I feel ties into some of the framework of the work and the words “glitter” and “doom” — there's hope on the other side.
The sound score for the film was made by Karima Walker. She's amazing. And then there's a powerhouse DJ named Pily, who helped with a portion of the mixing and arrangement for the solo section.
Us: Similar to BBD, you are based in a growing arts community in the West. How does this experience influence Methods of Madness Dance Theater and the art you create?
Halley Willcox: I'm really influenced by my community in Phoenix, and I'm continually surprised, inspired, and proud of everyone. So many people are making individual work, and everybody really shows up for each other. With the nature of a sprawling city, it can be challenging to feel as tight as somewhere like Missoula, but there are pockets of communities, and people make things happen. I also really appreciate the amount of socio-political work that comes out of Phoenix. It’s brave, it's important, and I'm grateful to be in a space where that is happening.
Us: Is there anything you’d like to add that we haven’t touched on that you’d like to share?
Halley Willcox: This is our premiere of Glitter & Doom! We're super honored to get to do that here in Missoula, and to be doing four shows. I am so grateful for this cast and everyone who has worked on this dance. The dancers show up and really believe in the work, and it’s palpable.
Coming up, we're looking forward to doing a show at the Scottsdale Performing Arts Center. It's part of a show called Homegrown, with a stellar lineup. We’ll be showing a 35-minute excerpt of this piece there. And then in the summer, we're doing a split bill in NYC with Chris Bell Dances. In August, we are doing the full-length, whole shebang with all the bells and whistles at the West Stage at the Herberger Theater Center at the end of August. And that will be an evening that features another local artist in Phoenix, who is excited to present.
Glitter & Doom is presented as part of our 2025|2026 season at the Westside Theater, February 27-March 1, 2026. Click to reserve tickets.