"By the end of the night, the overwhelming feeling in the theater was one of gratitude-for the dancers, for the faithful audience and for Mr. Ailey's gift to New York City." –Katherine Bergstrom, The Dance Enthusiast
"Dance is a universal language, and Cedar Lake Contemporary Ballet thrives on crossing the borders of interpretation with dancers from all corners of the globe and leading-edge choreographers." –Eliza Ingle, Charleston Magazine
"Dancing that pulls viewers right out of their seats," - The New York Times.
"Cedar Lake's dancers go from zero to 60 with an ease you or I cannot fathom." -The New York Times
"A rare accomplishment in the world of contemporary dance. Barton's alarmingly original voice resounds with a thwack." -- Boston Globe
"Barton's dancers are like bold splashes of paint. They shimmer and resonate like stringed instruments, sing in overtones, and emote in a multitude of tongues." -Dance Magazine
"One thing that Dance Theater of Harlem seems to understand is how to please its public. At City Center on Friday, as the troupe presented the second program of a four-show return to a theater that had long been its home, a receptive audience expressed its approval enthusiastically and with increasing intensity through each of the four works." -Brian Seibert, The New York Times
"Pascal Rioult celebrates the lyrical and the gutsy in his unmistakably individual and beguiling way."-- The New York Times
"Rioult stretches the imagination...creating a spine chilling work of choreography.... Perhaps the most adept and courageous choreographer in mainstream modern dance today." - Backstage
"Viewing Wien is like getting a front row seat at a grade 5 tornado." - The Salt Lake Tribune
"A piece of tremendous humor, humanity and, as to be expected in the hands of Julia Rhoads and Leslie Buxbaum Danzig, smartness." Sharon Hoyer, New City"
"A breakneck pace, skipping like a spinning stone across its surfaces like a perfect piece of pop art." - Zachary Whittenburg, Time Out Chicago
"Michelle Dorrance is not only a dynamo in tap shoes but a compelling, imaginative choreographer as well. She and her company…performed…works that stretch the boundaries of tap." –Karen Campbell, The Boston Globe
"One admirable aspect of Jessica Lang Dance's program is her awareness of space and her interest in altering it through scenery, costumes, and props. She doesn't use these as decoration or mood enhancers but as elements that shape the choreography." – Deborah Jowitt, Arts Journal
"Out of this unexpected union of dance and radio comes a show that, like the work of its collaborators, blends moments of delight and hilarity with glimpses of the soft underbelly of human experience. It's magic." - Santa Barbara Independent
"Part surreal vaudeville, part circus, and part toy store after midnight. Whimsical… a delight for the eye." – The Village Voice
"Pinto's movement is sophisticated, rigorous, stylized. With the help of director Avshalom Pollak, she organizes those elements into a shimmering, shadowy world at once puzzling and plausible, a fantasy as eternally quixotic as a clown's sorrowful smile." – Vicki Sanders, Boston Herald
"The continuity of changing imagery, the easy sensuousness and the wonderful push-me-pull-you surprises of the physicality: These still seem to come right out of their makers' dreams and into ours."
-- Alastair Macaulay, The New York Times
"One admirable aspect of Jessica Lang Dance's program is her awareness of space and interest in altering it through scenery, costumes, and props. She doesn't use these as decoration or mood enhancers but as elements that shape the choreography." – Deborah Jowitt, Arts Journal
"Members of this astonishingly versatile Brazilian troupe are trained to pirouette as expertly as they can samba or shimmy, and the steps seem to pour out of their sleek, supple limbs with unstoppable force." - Guardian
"Ballet Memphis is something of a little engine that could, to sum up the imaginative grit of Dorothy Gunther Pugh, who has presided over the group with equal dashes of elegance and temerity for 20 years." – The New York Times
"Bill T. Jones is a dancer abundantly blessed with musicality. Whether he is poised in classical ballet positions or sashaying about in a quick vaudeville buck-and-wing, he appears to find the best movement for the right moment"
-- Chicago Tribune
"When you go to see choreography by Moses Pendleton, artistic director and founder of MOMIX, you expect to be astonished. Botanica…has astonishment to spare." – Nancy G. Heller, The Philadelphia Enquirer
"It's hard to think of another woman who could dance these pieces, by four different choreographers, half so strikingly. Everything about her is riveting, interesting, unusual, intelligent." - Alastair Macaulay, The New York Times
"[Trisha Brown] keeps pulling something clean and coherent out of the off-center, out of kilter, unexpected movements we keep expecting will fall into chaos but never do." – Mike Steele, Star Tribune, Minneapolis-St. Paul, Minnesota
"The sheer fun of Fräulein Maria isn't surprising. The icing on the cake is the depth and range of the choreography. Elkins integrates disparate elements with such fluidity it's like a whole new language, and his dancers are spectacular."
Karen Campbell, The Boston Globe
"A sweet, hilarious, beautifully constructed take on The Sound of Music" -- The Village Voice