Works draws from a large range of influences – musical, literary, social, and scientific – all used to bring attention back to the communicative power of the human body.
"[1] Performances have been described in the press as "earthy, a little rough and daring, sexy and totally spellbinding," (Dance Magazine) and his work has been called "a metaphor for human resilience," (The Village Voice).
Additionally, his choreography drew this response from Jennifer Dunning of The New York Times: "a relief these days to see movement treated as a sufficiently expressive medium."
As an educator, Connor has been on the faculties of New York University, where he also worked as a choreographer and movement teacher for the Theater Department's Classical Studio.
According to his biography on the CalArts web site, Connor's "major collaborations include Solea and the Winds, a radical contemporary/flamenco evening which toured to critical acclaim for three years across Europe, Secondhand Sofa with bluegrass band The Biscuit Boys for the Piccolo Spoleto Festival, What The Waitress Saw, a deconstruction of a diner (with Emmy Award-winning theater designer, Charles Schoonmaker) for the Boston Conservatory's Copland Celebration with orchestra performing his clarinet concerto, and Near Ruins, a duet.