Alistair Macaulay of the New York Times commends Adele’s “calm, quiet lyricism” in a performance of Liz Gerring’s “She Dreams in Code” at the 92nd Street Y.
Read the whole NYT review here.
The Boston Globe reports: “The six skilled performers dance with an athletic subtlety . . . Gerring’s choreography often requires a sturdiness of technique. The women in particular excel in these moments, hovering in powerfully lengthened and beautifully etched arabesques.”
Read the rest of the Globe’s review here.
“Full-bodied dancing that changes my breathing… When Adele Nickel, Jessica Weiss and Mr. Collwes do lines of turns on one foot across the stage the feeling is investigative …but what’s remarkable is how that sense of exploration makes it reach into our bodies as we watch…This is engagingly here-and-now dancing, and that kinesthetic effect is something rare, even intoxicating.” – Alastair Macaulay reviews “Glacier” in the New York Times (April 1, 2015)
“I marveled at the elasticity of their spines, but never as an effect in itself. The way those torsos bend, hugely, while they’re doing lower-body movement is breathtaking. Running backward has occurred in plenty of modern dance for decades. Here you look at it as if for the first time because of the precise spring of each step, the easy way the torso contains the impulse of the movement and the dynamic continuity of the sequence as a single phrase….The striking, relaxed beauty of Jessica Weiss is nothing like the calm, quiet lyricism of Adele Nickel.” – the New York Times (March 10, 2013)
“The singular authority of Liz Gerring’s choreography is evident in the very particular nature of her dancers’ body language, paradoxically galvanized and relaxed at the same time and informally precise.” – the New York Times, December 13, 2013
“Arresting from the outset was the seven dancers’ blend of precision and wild looseness. The entire physique of each performer looked intensely motivated.” – the New York Times, December 16, 2010