Review: Thomas Hogan's 'Goliath' Work-in-Progress

Julia Wagner · 2026-03-22

Let's talk about something fresh in the dance world. Thomas Hogan, a recent ETD New Choreographer Grant recipient, is developing a new piece called "Goliath." It's a work-in-progress, which means we're getting a rare peek behind the curtain. You know, seeing the raw materials before the final polish. That's always fascinating, isn't it? As an audience member, watching a piece evolve is a unique privilege. You're not just seeing a finished product; you're witnessing the creative struggle, the decisions, the moments of discovery. It feels more like a conversation than a performance. And honestly, that's where some of the most interesting art happens. ### The Premise of "Goliath" The title "Goliath" immediately brings to mind a classic underdog story. But in Hogan's hands, it's not so straightforward. The work explores themes of scale, challenge, and perception. What feels like an insurmountable obstacle from one angle might look completely different from another. It's a concept every dancer and choreographer can relate to—that moment when a piece feels bigger than you are. Hogan's movement vocabulary is athletic and grounded. There's a weight to it, a sense of grappling with something substantial. You can see the dancers pushing against invisible forces, testing their own limits. It's physical storytelling at its core.  ### The Creative Process on Display One of the most valuable aspects of seeing a work-in-progress is understanding the choreographer's process. Hogan is clearly experimenting with structure. Sections feel modular, like he's testing how different sequences fit together. Sometimes the transitions are seamless; other times, they're intentionally jarring. It makes you think about how a narrative is built, piece by piece. For fellow choreographers, it's a masterclass in problem-solving. How do you develop a motif? When do you introduce a new dynamic? Watching Hogan work through these questions in real-time is incredibly instructive. It demystifies the creative act. ### Key Takeaways for Dance Professionals So, what can studio owners, teachers, and choreographers learn from this? A few things stood out: - **Embrace the unfinished.** Showing unfinished work builds community and invites valuable feedback. It's a brave and productive practice. - **Theme is a tool.** A strong conceptual starting point, like "Goliath," gives dancers a world to inhabit. It's more than just steps; it's a story to tell. - **Grant funding matters.** Support from organizations like the ETD grant allows artists like Hogan the time and space to experiment. It's an investment in the art form's future. As one observer noted, "The most compelling part wasn't the finished phrases, but the moments of uncertainty between them. That's where the real dance was happening." ### The Value of Audience Feedback This presentation was designed for feedback. The post-show discussion wasn't an afterthought; it was part of the piece. Hogan listened, asked questions, and took notes. That dialogue between artist and audience is crucial for development. It's a reminder that art doesn't exist in a vacuum. It's a conversation. For those of us running studios or creating our own work, it's a powerful model. How often do we create a safe space for that kind of open, constructive critique? It might be the key to unlocking our next breakthrough. Watching "Goliath" evolve is a reminder that great art is a process, not just a product. Thomas Hogan is building something ambitious, brick by brick. And we're lucky enough to watch the walls go up. It makes you wonder what challenges your own dancers are facing, and how you can help them find their own way through.