KATIE WORKUM

Katie Workum: "making a living dance" at Danspace Project
InfiniteBody, April 10, 2015
“It reduces the typical expectations--what makes sense? what is right? what is perfect? It heightens alertness to everything emerging as well as awareness of the witness's own inner stirrings. The hour-long Black Lakes reminded me of the trusting flight into open air that, for me, is my experience of giving a Tarot reading, a container for the arrival and expression of anything, the next thing and the next after that.” 
—Eva Yaa Asantewaa

Eyes:Open and Shut
Arts Journal, April 11, 2015
"They’re as alert as animals to everything they see and hear. And, in the case of these three, what they sense through their skins."
—Deborah Jowitt

Connecting and Disconnecting
Arts Fuse, April 11, 2015
“Workum is approaching dance-making from a different place, and yes, new thinking is good for both creators and audience
—Janine Parker

NO SHARP EDGES: Katie Workum’s Black Lakes
Brooklyn Rail, May 6, 2015
"Workum as a bounding, fearless creature with wide lunges and mobile joints; Smith with a vibrant winding and fluid curlicue motions that float through the air; and Pauly with a grounded quiet that gracefully skims each surface…"
—Tara Sheena

DAVID NEUMANN

'I Understand Everything Better' Theater Review
Time Out New York, April 21, 2015
"I Understand Everything Better takes choreographer Neumann's already-wonderful touch for movement and the wry phrase and cuts it into diamonds."
—Helen Shaw

 In ‘I Understand Everything Better,’ Ruthless Elemental Forces
The New York Times, April 20, 2015
"a sinuous blurring of fiction and truth that mines and merges topics — dying and caretaking, death and nature — to address unanswerable questions. It’s been several years since he has produced anything as deftly strange and confident as this work."
—Gia Kourlas

Impressions of: ‘I Understand Everything Better,’
The Dance Enthusiast, April 22, 2015
“Under the influence of Japanese Noh theater, with a brilliantly layered script; precise, ritualized choreography that can appear serene, poignant, or comical; crashing rock music; and vibrant multi-media images, the expert players of the Advanced/ Beginner Group morph into the many storytellers we need to organize this profound chaos.”
—Christine Jowers

WINNER of TWO Bessie Awards:
Outstanding Production to David Neumann/Advanced Beginner Group “For creating a mysterious and whimsical world in which to explore the dual devastations of personal loss and public destruction, taking the audience on a visceral journey through internal and external storms.”

Outstanding Music Composition/Sound Design to Tei Blow “For a virtuosic live audio performance mixing recorded sounds, percussive rhythms, a live mic, and spinning vinyl to transport the audience from the mountains of Japan to the hurricane-ravaged shores of New York.”

EMILY JOHNSON

‘Shore,’ a Dance and More Over Space and Time
The New York Times, April 28, 2015
“Ms. Johnson, a magnetic performer, is adept at mobilizing people, onstage and off; you want to follow.”
—Siobhan Burke

Emily Johnson Shares SHORE in Lenapehoking/New York City
Huffington Post, April 17, 2015
“As her company name suggests, Johnson's public art making is a portal and catalyst for potential change, or at the very least an invitation to connect—to others, to ones self, to the world around you.”
—Jennifer Edwards

Dancing Communities
Arts Journal, May 2, 2015
“There’s something mysteriously beautiful about what happens in the theater. ... the intentness of the performers catches you; everything they do has the aura of meaningfulness. … I feel as if I’ve entered a domain in which dream and memory and history meet in present-day New York and reach out their arms to one another."
—Deborah Jowitt

SHORE Sparkles at New York Live Arts,
Broadway World, April 29, 2015
"SHORE swept the audience away… Johnson has proved to engage in the multidisciplinary storytelling arts masterfully, and transcendently."
—Matt Hanson

KIMBERLY BARTOSIK

Explore Confinement and Colision
New York Times, May 22, 2015
“dense in a wonderfully woozy, mysterious way… Ms. Bartosik creates relationships that slip out from under themselves, transforming before you can name them.”
—Siobhan Burke

Freedom’s Just Another Word for Nothing Left to Lose
danceviewtimes, May 23, 2015
“When all three fell in a controlled flail to the floor, they stretched in parallel, rose in low side lunges then lifted their legs high, a fight for dominance against gravity.” 
—Martha Sherman

New dances by Bartosik and Crossman at Abrons Arts Center
Infinite Body, May 21, 2015
“supercharged, contested, treacherous… there's no easy way to break or scale the wall that contains this dance's violence and furtive sexuality.”

Katie Workum / Kimberly Bartosik—Connecting and Disconnecting
ArtsFuse, October 26, 2015
“the dance is excellent, compelling—I was always wanting to see what was around the next corner
”—Janine Parker


REBECCA LAZIER

With Accidental Choreography, Poznan’s MALTA Festival Kicks Off In Style
Gazeta Wyborcza, June 11, 2015
“The dancers, who masterfully employ both technique and rhythm in a whimsical and energetic way, created a one-of-the-kind masterwork.”
—Stanisław Godlewski