[7] In December 2017, she was one of a quartet of female dancers in Michelle Dorrance's Until the Real Thing Comes Along (a letter to ourselves), which debuted at New York's Joyce Theater.

New York Times dance critic Gia Kourlas called Dorrance's collaborators—Sullivan, Jillian Meyers, and Josette Wiggan-Freund—"three singular and rhythmically brilliant dancers who are part of the traditional tap scene, but who also live in the commercial world.

They returned to Goldings’ home studio and backyard to do more, posting to their respective social media pages and generating online conversations “among jazz musicians, tap dancers and more mainstream music enthusiasts, with the likes of Sheila E., Robert Glasper, and Questlove chiming in,” wrote Brynn Shiovitz in the Los Angeles Times.

“Drawing from the worlds of jazz music, funk, commercial dance and underground tap, their eclectic collaboration has amassed them a dedicated fan club over Instagram and Patreon, who seek out their improvised magic in clubs all over Southern California.”[9] Shiovitz wrote that the duo is part of a tradition dating to the 1920s, when jazz music and tap dancing developed in parallel, each “crucial to the other’s evolution.” The 1921 broadway show Shuffle Along cemented the trend and the 1984 film The Cotton Club furthered it.

"In weathered boots and dresses that could have crossed the plains in a covered wagon, six tap dancers not only drill it down with their feet, they use their full bodies to convey loss and grief", wrote Dance Magazine.

New York Times dance critic Brian Seibert noted Sullivan's aim of bridging two schools of tap dancing, rooted respectively in jazz and musical theater, and called it "a worthy goal" of admirable ambition, but felt that the story didn't cohere and the choreography was uneven.

He called Sullivan's depiction of her grandmother as a young woman and a flashback set in Central Park "the work’s best scene.

Here Ms. Sullivan, with a sly smile and a sense of wonder, is at her most engaging, and her choreography—setting the romantic duet amid interference by her six-member female ensemble—captures some of the playful joy of the musical-theater tradition."