WHOLLY MATRIMONY (2000)
To the wedding, to the wedding! With a little bit of Marriage of Figaro meets Noces, mingled with some self-help text on the challenges of monogarny. This celebration of couplings of all sorts begins with the music of the Electric Light Orchestra and ends with the driving rhythms of The Talking Heads. Traditional costumes by Nadia Tarr with men in black and the women in white — sort of (30 minutes).

LAST TRAIN TO PHILLY (1999-2000)
Commissioned by The Fringe Festival of Philadelphia, and re-vamped for the company’s millennium season at Symphony Space, New York, this dance celebrates Soul Train and the Philly sound of the sixties and seventies with music by Patti LaBelle, The Delfonics, and the more current, hip hop Roots (20 minutes).

IN WINTER STAND (1999)
A postmodern tango, lush and intricate, set to the music of John Adams (11 minutes).

CENTER MY HEART (1996)
Music by Nusrat Fateh Ali Khan. Commissioned by DTW's First Light program with funding provided by the Joyce Mertz-Gilmore Foundation and developed while in residence at SUNY Brockport. Colorful, sensuous, celebratory, precise, and exhausting. Awarded a 1997 Bessie--New York Dance and Performance Award (26 minutes).

BIPOLARBEAR NOS (1998)
The letters stand for Not Otherwise Specified, a word play on a psychiatric diagnosis. The dance fully incorporates martial arts moves into a meditation on relationships in which a series of encounters end in Intimacy, aggression, and loneliness. Danced to an original score by Evren Celimli (30 minutes).

RODA (1997)
Contemplative solo work by and for Doug Elkins, danced to Antonio Carlos Jorbim’s Corcovado (Quiet Night of Quiet Stars) as covered by Everything But The Girl (4 minutes).

NARCOLEPTIC LOVERS (1995)
Dream-like sequences, which begin in silence, travel the gamut of emotions, tender and aggressive, through more complex couplings, a striking solo, and fast-paced ensemble work. Provocative yet comforting with poetic monologue by Lenny Bruce, a ballad by Sinead O’Connor, Mozart’s Don Giovanni, and driving rhythms by the UK’s Urban Species. Original music interludes by Mio Morales and lighting by Roma Flowers (41 minutes).

BITE THE WAXTADPOLE (1995)
Original Chinese translation of Coca-Cola, it was later changed to mean 'may the mouth rejoice.' A semi-hula without the grass skirts, all set to Tahitian music. Bright, rich lighting design. Commissioned by DTW's First Light program with funding provided by the Joyce Mertz-Gilmore Foundation (18 minutes).

SCOTT, QUEEN OF MARYS (1994)
Commissioned by the Joyce Theater/Fund for New Works. Traditional Scottish step dancing technique and phrases Intermingled with voguing and high camp sashay-ing of the fashion runway. Guest artists, Willi Ninja and Adrian Alicea. Original score by Mio Morales (40 minutes).

THE STUFF OF RECOILING (1992)
Doug's most lyrical work utilizing striking music of Nusrat Fateh Ali Khan and David Byrne. Structurally rich with intricate partnering and full ensemble work (20 minutes).

WHERE WAS YVONNE RAINER WHEN I HAD SATURDAY NIGHT FEVER (1991)
Doug’s tribute to disco and adolescent angst with polyester jumpsuits, head bands, bell-bottoms and tired wrist corsages - a sort of dancing Dating Game with out Jim Lang. A Charlie's Angels ending and plenty of top 40 hits In between with music by Travres, Barry White, Anita Ward, and George McCray (35 minutes).

THE TESTOSTERONE DIVERSIONS (1989)
Featuring all or part of four distinct sections: Duo for Testosterone and Push-up with two male dancers in a knock-down drag out display of "maleness"; Quartet for Pamprin & Push-up Bra, a female quartet with music by Telemann; Treete, a female trio with music by David Byrne: and Little Prints, a clever interpretation of the children’s story 'Ferdinand the Bull’, including voice-over by Scholastic Records (50 minutes).

THE PATROOKA VARIATIONS (1988)
Signature Elkins piece combining flamenco and break dancing, simultaneous praise and parody of the macho world. Choreography features a Doug solo, full ensemble, and two metal folding chairs. Music: Bizet’s Carmen, flamenco guitar, James Brown and Prince (5 minutes).