Kristin Marrs is a choreographer, performer, and teacher. As a Lecturer in Ballet, she teaches all levels of Majors Ballet, Pointe, Alexander Technique, and a variety of courses across the dance curriculum.
Marrs performed as a company member of Columbus Dance Theatre, Ballet Quad Cities, Northern Ballet Theatre, Arova Contemporary Ballet, Paradise Ballet Theatre, Opera Columbus, and Images of Dance (London). Her performance repertoire includes works by George Balanchine, Frederick Ashton, Marius Petipa, Lynn Andrews, Penny Askew, Deanna Carter, Margaret Mead-Finizio, Kennet Oberly, Stella Kane, Maria Glimcher, Johanne Jakhelln, Alun Jones, Kim Robards, Bettijane Sills, and Tim Veach. Some of her favorite roles include the Milkmaid in Ashton’s Façade, the Snowy Egret Queen in Jones’ Nutcracker Key West, and dancing as a soloist in Oberly’s Goldberg Variations. She continues to perform as an independent artist.
Marrs’ choreography explores the evolution of ballet technique and narrative form, and she has presented her work at concert and site-specific venues around the United States. Recent works include When Trees Say Nothing created in collaboration with paper and fiber artist Mary Merkl-Hess, and HBHH, performed with Iowa Oboe professor Dr. Courtney Miller. Marrs and Miller are co-founders of Con Moto, a multi-disciplinary performance ensemble, and they are currently creating a dance film with dance artist/filmmaker Alex Bush. Additional choreographic works include: A Poet’s Love, featuring live performance of Schumann’s Dichterliebe with baritone Bryce Weber and pianist Lin-yu Wang; Out of the Depths, set to Alban Berg’s Lyric Suite, re-staged for the 2019 Dance Gala at Hancher Auditorium, and featured at the American College Dance Association Gala concert; an original Alice in Wonderland, co-choreographed with Eleanor Goudie-Averill; and a restaging of the classic ballet Paquita with the University of Iowa Youth Ballet.
Marrs is a certified Alexander Technique teacher with the American Society for the Alexander Technique, and runs a private studio in addition to teaching Alexander Technique to students throughout the Division of Performing Arts. She is a founding member of Alexander Technique Iowa (www.alexandertechniqueiowa.com), an online community of AmSAT teachers and students in the Hawkeye State. Marrs' research and teaching interests include the integration of healthy somatic practices with ballet pedagogy. In July 2019, she presented her paper Draft, Workshop, Revise: Processes for an Inclusive Ballet Pedagogy in Higher Education at the CORPS de Ballet International Conference in Tallahassee, Florida.
Marrs trained at SUNY Purchase and London Studio Centre, and holds an MFA in Dance from the University of Iowa. She previously taught ballet technique at the University of Illinois Champaign-Urbana, Columbus Dance Theatre Intensive Training Program, University of Iowa Youth Ballet, and as a guest artist at Ohio Wesleyan University, University of Wisconsin-Milwaukee, and Shenyang Conservatory of Music (China).
Majors Ballet 1, 2, and 3; Pointe 1 and 2; Introduction to the Alexander Technique; Introduction to Dance Studies, Kinesiology