Press Quotes

Be Still My Heart - Photo by Stan Barouh

"This dreamlike production of Spring Awakening is filled with supreme attention to detail and otherworldly metaphor."

DC Metro Theater Arts

 

"Organic, inventive, emotionally compelling and truly memorable."

Student blogger, UMD Clarice Smith Center

 

“It's the kind of dance the world needs more of: joyful, clever and unabashedly fun.” 
Times Union, Albany, NY

 

“Risky, provocative, intuitive, assured, smartly edited.” 
The Washington Post

“Suspenseful dance vocabulary and symbolism.”
OÖNachrichten, Linz, Austria

“These choreographers burble with ideas and warmly embrace the notion of collaborating with their dancers” 
The Washington Post

“Weighty ideas... a lot of intellectual meat on the bones.” 
The Washington Post

“Poignant and impressive.” 
The Cornell Daily Sun

“Daredevils of the heart.” 
Dance Magazine

“Heart-wrenching and wryly comic.” 
The Washington Post

“Contagiously joyful.” 
Dance Magazine 
 
 “Follow them.” 
The Village Voice 
 
 “Reveals the desire to shatter surfaces and
release the vital reality trapped within.” 
Eva Yaa Asantewaa, online review  
“Fierce and unpredictable.”
Dance Magazine

“Carries enough everyday magic for several productions.” 
Eva Yaa Asantewaa, online review

“Thaw is like a slow exhale.” 
The Daily Gazette, Schenectady, NY

"The dance — an ingenious meld of movies and movement, motion and stillness, glassy white and tender green, silly props and serious ideas - keeps opening up in your mind long after the stage goes dark.” 
Metroland, Capital Region, Albany, NY

"It feels like we are all trapped under the ice. ” 
The Daily Gazette, Schenectady, NY
 
 “Impressive. Virtuosic. Amazing. Imagistically rich.” 
The New York Times
 
 “Some of the finest - and certainly some of the funniest – episodes of dance drama.” 
The Village Voice
 
"Intriguing... ingenious... around her swirl the forces of the soul.” 
The New York Times

“Provocative...priceless...astounding...important...splendid.” 
Back Stage
 
 “Smart, bold, with a decidedly wild streak.” 
The Village Voice

“Wonderfully humorous and sparkling with irony and self-irony."
Kulturbericht Oberösterreich, Austria

 “Unfolds with the pulsating rhythm of a carefully crafted poem... one part Woody Allen narrative, one part prayer.” 
The Daily Gazette - Schenectady, NY
 
 “Pearson pours out her soul along with boxes of salt.” 
The Washington Jewish Week
 
 “Magical... mystical... elemental... a well crafted weave of movement, monologue, original music, and poetry whose separate threads remain distinct, but in balance... funny, agonizing, and beautiful.” 
Metroland, Albany, NY
 
 “Wonderfully performed... with immense skill and humor.” 
The Village Voice
 
 “Proves that dance can bring visual and intellectual stimulation together... most memorable... strikingly beautiful... evocative...” 
The Washington Post

“Engrossing theater.” 
The Village Voice
 
 “Simultaneously poignant and absurd.” 
Dance Magazine
 
 “Magic is an appropriate description.” 
Evening Press, Dublin, Ireland

  “How much they - and we, too - relish the immediacy of any destructiveness we can wreak short of the fatal.” 
The Village Voice
 
 “Performed with breathtaking vitality and energy.” 
Der Toggenburger, Switzerland

 

 “A potent, intelligent presence.” 
The Village Voice

“Pushes the rituals of a traditional community over the edge into mysterious, subversive, and often funny acts. The audience was delighted." 

The Village Voice
 
 “Truly absorbing - offers insights into the problems of humankind and its relationships.” 
The Glasgow Herald
 
 "A tough-tender dance, staged with wise theatricality.” 
The Village Voice

“Everything was parsed out in a mix of irony and self-mocking.”
Neues Volksblatt, Linz, Austria

 
 “I’m always impressed by the ideas Pearson and Widrig tackle. Their dramatic pieces range over a variety of cultures.” 
The Village Voice
 
 “Extremely original.” 
Calcutta Times, India
 
 “Electrifying. Lush and delightful.” 
Dance Magazine
 
 “Intense and vivid.” 
The Village Voice
 
 “A touch of genius; bravo!” 
Le Journal d ’ Egypte, Cairo, Egypt
 
 “Disarmingly frank. Nothing was sacred.” 
The New York Times
 
 “Renewed the audience’ s gusto for life.” 
Instituto Cultural Peruano Norteamericano, Lima, Peru
 
 “They often dance together as if all dances began and ended in bed.” 
The Village Voice

“Personal and public, private and profound, humorous and sad, sober and enlightening.” 
Lincoln Journal Star

“The movement is free and feeling, evolving in ways that make perfect sense.” 
The Village Voice
 
 “Pearson's Ley Lines is a fine and thoughtful example of a piece composed not just for the shape, but for the ambience of a space. Ley lines are the lines of energy in the earth that ancient Celts believed intrinsic to a place. I think Pearson found Bethesda's.” 
The Village Voice

“Image-rich dance theater – a memorable and impressive experience.”
Tips, Linz, Austria

 “Much of Pearson's dance is spent heart and hands on the ground, as if to lay pulse to pulse. There is a sense of rolling room and open air. There's a memory of the playground, of group effort and shifting affinities, of empty fields lengthening in the distance. Andy Teirstein's music, ghostly bagpipes and tectonic drones, makes that distance a dusky, mystical one.” 
 The Village Voice

“At its best, their energy can be transformational.” 
Philadelphia CityPaper
 
 “Details journeys across landscapes literal and psychic. It seems to be exploring every avenue of a new neighborhood, the common places and the strange.” 
The Village Voice
 
 “Terrific comedy, unassuming, hilariously earnest and even poignant.” 
The New York Times
 
 “His charisma lies in his contradictions.” 
The Village Voice
 
 “The persuasive momentum explodes, mid-dance, into breezy images of free flight. Swoosh!” 
Dance Magazine
 
 “Seems like a spiritual journey… blending quickness and lush softness — a Pierrot Lunaire tumbling beneath the moon.” 
The Village Voice
 
 “The theatrical ingenuity of Do You Remember? ultimately called attention to a whole moral and political world outside the theater.” 
The New York Times
 
 "Like filmmakers, the choreographers people the landscape, working from various viewing angles, using perspective, scale and dynamic relationships to create visual images that also work at levels of metaphorical meaning. Performers and viewers alike are part of the invading hordes, casting ephemeral human shadows on the abiding earth.” 
 The Maine Times