VVoice

The choreography evolves from walking to whirling, from moves as plain as street signs to the complex body language of emotional enigmas. Village Voice 5/5/05

Sofiane Sylve’s sheer physical vitality feels like an engine that energizes the entire theater, filling it with joy. Village Voice 4/19/05

Retiring from the stage in June, Peter Boal, longtime New York City Ballet principal and a bastion of pure classical dancing, appeared with his chamber company for perhaps its final season. . . . Paige Martin and Caitlin Cook: A program curated by pomo dance celebrity Sarah Michelson should have been more striking. Village Voice 4/19/05

Soll herself is unforgettable–as alert, quick, clear, and delicate as a lark. . . . Aspen Santa Fe Ballet appeals with easily accessible choreography, forcefully executed by dancers who are as bright and attractive as the imaginary people in ads selling you vacations. Village Voice 4/4/05

Hummel’s Elsewhere is enormously sophisticated on several levels, from the nuanced gradations of feeling expressed to stage pictures that remain beautifully calibrated whether the figures are still or running amok. . . . Packed into Joe’s Pub for Dancemopolitan, we’re craning our necks to ogle the tiny corner platform that serves as a stage for the cabaret show of postmodern dance. Village Voice 3/29/05

My bets for a glorious future are on Joseph Caley, a fresh-faced and courageous high flier who might be the hero of a child’s adventure story–prodigious in his skills, ingenuous in his beauty. Village Voice 3/15/05

Impelled by her unabashedly maverick imagination, Cathy Weis melds dance, video, and the fact that she has multiple sclerosis into haunting theater pieces. Village Voice 2/22/05

Monte’s choreography is handsome and functional, but all her devices remain standard; on the Configuration program, only Harrison McEldowney’s “At the End of the Road” offered genuine joy and wit. Village Voice 2/22/05

I guess RoseAnne Spradlin has death on her mind. Village Voice 2/8/05

The strongest works demonstrated an international outlook, incorporating much Western influence while retaining a stylization and emotional obliqueness characteristic of Asian art. Village Voice 1/25/05