—THE FIRST REHEARSALS— VISITORS: TICKETS NOW ON SALE —ONE NIGHT ONLY —Jan 23, 2026 @ 7:30 PM —ORPHEUM THEATRE We’re bringing our dance theatre madness to Phoenix… 📺📺📺 VISITORS, created by Founder + Artistic Director Alyssa Johnson, emerges from indie video games and pulls us down the path from dread to horror. This two-act story, told through contemporary dance, confronts anguish in the margins of indifference and the cost of being on either side of the door Are you human? Enter our post-apocalyptic hellscape and find out 📺📺📺 Not suitable for individuals under the age of 13

Moments from the premiere of FUTILITY, created by Paracosm Dance’s Alyssa Johnson, Ruslan Gitia, and Behnam Arzaghi Premiered at [nueWORK] Dance Festival 2025 | 8.23.25 | Phoenix Center for the Arts | Third Street Theater —Choreographed and danced by Alyssa Johnson and Ruslan Gitia —Score by Eugène Ysaÿe, performed live by Behnam Arzaghi —Lighting by Esteban Rosales —Footage captured by Destiny Acevedo and Dustyn Shehane —Video edited by Alyssa Johnson —PA: Dustyn Shehane —Rehearsal space provided by Carley Conder

Created by Alicia Nascimento Castro and Alyssa Johnson Performed 11.28.25 at the Herberger Theater Center's Pop-Up Performance Series as guest artists for CONDER/dance —Costumes by Dustyn Shehane —Original score by semiquaver

Scoring USITT awardee Zach Young's "An Exploration of Movement, Structure, and Integrated Design", Behnam Arzaghi premiered "Levitations I" this past month at the B. Iden Payne Theater Scene Shop in collaboration with Alyssa Johnson. From Behnam: "If you were to ask any classical musician what their favorite part of playing is, I think that nine times out of ten you’ll hear ‘playing chamber music.’ Chamber music (playing in a string quartet, for example) is an intensely collaborative, rich, and rewarding format: unlike in an orchestra, no two musicians play the same part. Each person’s contribution is essential and unique, and yet incomplete until integrated with the others. It has the powerful effect of changing how you think about your playing. You stop asking 'how can I sound better,' and start asking 'what does my part need to be doing to make us sound better?' At times the answer is to 'play out,' move into the foreground and take up space. At other times it’s to move into the background, be the invisible fabric that keeps the other parts stitched together. Other times still it’s to find synchronicity, to be in lock-step with everyone. The most important thing in chamber music is to keep asking, because the answer is constantly changing. Composing music for a multi-modal, collaborative piece where the dimensions of dance, lighting, set, and sound were each so deeply considered and artfully rendered felt just like playing chamber music. When I’d meet with Alyssa we’d discuss what her choreography needed at key points, what narrative shapes the piece would take, what logistical elements she’d be navigating (carabiners, fabric, being literally upside down in a ten foot tall steel structure we affectionately referred to as The Egg), what worlds and spaces Zach’s structure seemed to source from, and how the music could immerse us deeper into them. Fitting together all these pieces while bringing my own ideas of what I wanted to compose felt like playing musical Legos (those who know me will recognize this as an analogy of the highest order). And in the vein of chamber music I would keep asking, 'what does the music need to do here so the other elements are elevated?' Which had a strange effect of, by de-centering my contribution, freeing my mind from some of the inhibitions and self-consciousness that I find often creeps in when I write a piece of music in isolation. And I couldn’t have been more excited to see all the elements converge: Alyssa’s artistry, Zach's lighting, the presence of the steel structure - they had the exact same effect of elevating the score."

In rehearsal with Ruslan Gitia and Alyssa Johnson, ft Behnam Arzaghi FUTILITY | 8.23.25 tickets on sale now . -Endless gratitude to Destiny Acevado for capturing such incredible footage 🎥 -Edit by Alyssa Johnson . Paracosm Dance for [nueWORK] Dance Festival

World Premiere: Inspired Dance Film Festival 2024, Australia — Featuring Alyssa Johnson and Zane Cooke — —Produced by Paracosm Dance —Created, Directed, and Edited by Alyssa Johnson —Lighting and Cinematography by Camera Clay’s Eric Hunter with Sean Price —Score and Sound Design by Behnam Arzaghi —Costumes by Dustyn Shehane —Set Design by Alyssa Johnson with Eric Hunter —Technical Direction by Solomon Masala —Filmed at Paracosm’s first home base Blue Lapis Light

-Rehearsal Footage, March 2025- Created by Paracosm Dance for CONDER/dance's TRUE NORTH: Tiny Dances 2025, at the Tempe Center for the Arts Choreography and Performance: Alyssa Johnson Costume Design: Dustyn Shehane Score: Behnam Arzaghi and Alyssa Johnson (Premiered April 4th, 2025)

CREATING TEMPORARY REALITIES THROUGH FIERCE MOVEMENT Paracosm Dance is dedicated to a deep exploration of movement development, expression, and performance. We push choreographic and performative boundaries within our evolving multimedia field, celebrating the continuous conversation between classical forms and contemporary vocabularies. Working to create conscientious and captivating works for unconventional stages, Paracosm Dance prioritizes art accessibility. Actively engaging audiences in revolutionary spaces and exploring new ways to bring dance education and experiences to our community, we provide financially and physically accessible performances around our city. We strive to hold space for outside artists, allowing those in our community to bring their work to wider audiences. (And yes, we stan ARCANE)

Enjoy the first few moments of Behnam Arzaghi's score for Zach Young's "An Exploration of Movement, Structure, and Integrated Design" alongside footage from Alyssa Johnson's early exploratory moments finding vocabulary on the structure