VVoice

In Beginnings, they pace, twist, run, tumble, crawl, and pose in photo-op freeze-frames, intermittently spoofing the pretensions that can attach themselves to the creation of a dance. Village Voice 1/14/05

The curtains fly up—as at a peep show—to reveal a wraithlike figure clad only in panties and a gauzy robe that suggests flayed skin. Village Voice 1/11/05

A shared program by Andy Russ and Lionel Popkin offered excursions to the studio and the kitchen (with adjoining bedroom). Village Voice 1/11/05

All four choreographers—Janis Brenner, Susan Marshall, Ronald K. Brown, and Robert Battle—displayed an astute understanding of the newcomers’ formidable gifts and limited experience plus well-nigh palpable affection and respect for the rising generation. Village Voice 12/20/04

A tense, haunted figure, Minato plays a tormented pilgrim in a dark forest, involved with lethal human threats as well as a portentously symbolic rope hanging from above. Village Voice 12/20/04

Daneman’s sensibilities, thinking, and writing style are insufficiently sophisticated for the task of making Fonteyn live on paper. I suspect only a poet would be equal to it. Village Voice 12/14/04

At each of their recurrent impasses, unable to establish a mode of togetherness that will last, yet determined not to part, they face each other as if to ask, “Where do we go from here?” Village Voice 11/15/04

The radiance the program possessed was due largely to the presence of performers borrowed from the beleaguered Dance Theatre of Harlem, who seem to operate from sources deep inside them. Village Voice 11/08/04

Slowly her fingers emerge from her shroud, their tips like tiny, vicious claws, her hands engendering subtle anatomical horrors that she places where her face should be. Village Voice 11/08/04

Pablo Pugliese, born into a family of tango pros, entertains the notion that the soul of the genre can be expressed by augmenting its vocabulary with modern dance and ballet. Village Voice 10/19/04