In the Press

About There Might Be Others

NY Times Preview – Siobhan Burke “It’s a work about the art of making decisions, wherever they may lead.”

Infinite Body – Eva Yaa Asantewaa There Might Be Others might be intended–on an ideas level–as a model for other artists and for society itself.  Maybe that’s needed. But there’s no shame in saying that, first and perhaps foremost, it’s a phenomenal entertainment.”

Village Voice – Elizabeth Zimmer Rebecca Lazier and Dan Trueman: ‘There Might Be Others‘”

Dance Enthusiast – Garnet Henderson The Choreographer and her International Cast Prepare for the Premiere

New Yorker – “Rebecca Lazier

The Operating System – Lynne DeSilva-Johnson Re:Conversations: There Might Be Others

Gazeta Wyborcza, Poznan – Stanislaw Godlewski With Accidental Choreography, Poznan’s Malta Festival Kicks Off In Style

La MaMa Moves! Blog – Sam Alper 6 Questions for Rebecca Lazier

About Coming Together/Attica

julie_lemberger-crop-7106NY Times ReviewAlastair Macaulay “Rebecca Lazier’s new 50-minute “Coming Together/Attica” has an exciting immediacy. Its structure gives it drama. So does its action, which comes extremely close to the audience….staggering degrees of violence in partnering: on several occasions one dancer hurls another to the floor with alarming force. It becomes fascinating to watch as the dancers’ high-charged energy and the full stretch of their legs recall the power of the “Coming Together” section. The difference here lies in the flow of the phrases and in the dancers’ casually unstretched arms. The excellent six performers, admirably diverse in physique, are outstanding.… Mr. Riener can take minor details of footwork and give them startling urgency. And the power and glow of Mr. Mitchell’s movement are thrilling.”

Dance Magazine ReviewEva Yaa Astenwaa “This piece packs more into its 50 minutes than most dance productions manage to deliver in twice the time. Hurling themselves from one corner of the space to another like water breaching a ship, the dancers show an astonishing openness—even feral appetite—for Lazier’s vision of chaos. Watching them, we fear for their safety—and our own.”

“That this dance diptych wasn’t upstaged by the mighty punk-classical ensemble Newspeak, who played Rzweski’s score with a ferocity to match their nimble, Bach-like precision, speaks to the intensity of Lazier’s work.” Lucid Culture

“Such beauty in the midst of the worst of atrocities was captured by recent performances of Coming Together / Attica by Frederic Rzewski with original choreography by Rebecca Lazier. It was simply impossible to be physically disconnected from this performance.” I Care if You Listen

NY Times Pick-of-the-Weekjulie_lemberger--6696

Interviews: ClassicalTVExit StrataI Care if You Listen, CulturebotArtonAir

Television feature: PBS THIRTEEN NY-Arts

About Terminal


“A state of mind… intriguing responsive environment transforms the theater into a shimmering pool of shadows.”
Gia Kourlas, The New York Times

“Lazier’s choreography—its emphasis on sudden movement that pulls back, at an instant, into contained control—transcended to create a real and recognizable portrait of an emotional moment.” Jacqueline Barba, Explore
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About I Just Like This Music

DSC_0200_2“Full of cool sensuality” Gia Kourlas, The New York Times

“This was real eye candy, featuring timed, balletic arpeggios and technically fine ensemble work. Stylistically, this little company suggests a more muscular, grounded, modern take on the lyrical beauty of Paul Taylor’s choreography.” Jeff Hoodock, Dancing To The Beat Of The Big City

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Terrain_BD_172_“Solidly crafted dance rich in activity and striking images… fast paced and the movements interestingly unpredictable.”Lisa Jo Sagolla, Back Stage

“Terrain’s name suggests substance and texture, rightly standing for what Rebecca Lazier and her dancers shape across space in Lazier’s evocative choreography. With its new “Terra Incognita” program, the troupe beckons audiences into mostly abstract yet extravagant landscapes and mythscapes. In Transparent Body classical sculpture breathes and evolves. Lazier and Williams make time expand and contract, and often drop its snapped-off, ragged edge before grabbing it up and working it again.” Eva Yaa Asantewaa, Village Voice

“Wide ranging, generous movements and raw physicality mark Rebecca Lazier’s absorbing dances… Lazier’s bold movement vocabulary, with its appealing combination of no-holds-barred turns and dives to the floor and the surprising moments of quiet in torqued shoulder stands and still, hawk-like hovering is articulated fully by her seven dancers, who throw themselves into every off-kilter balance and tangled embrace with an abandon that is truly astonishing.” Sophia Ernst, Show Business Weekly DSC_0237

“Lazier arranged these pliable, hyperactive bodies in attractive disorder… showed more of the choreographer’s intelligent, fine control of complex material.” Eva Yaa Asantewaa, Village Voice

“Vanish opens the door into Lazier’s choreographic realm, defining her vocabulary of movement with its gutsy sweeps of arms and legs and its space-eating leaps and dives. A kaleidoscope of charged movement, Vanish lives up to its name, with the dancers silhouetted against the vanishing light, their arms reaching for the sky… A Stone’s Throw is a sometimes lyrical, sometimes wild journey through various cycles of love–holding back, giving in and letting go. glowing vibrancy that alternates between pathos and exuberance. …Nurses exhibits Lazier’s devilish wit, as dancers enact a wild, perverse escapade that explores not only female roles and the female body, but abusive relationships as well.Sophia Ernst, Show Business Weekly

Terrain_BD_023_“Lazier Work a kinetic triumph. Vanish created an entire geography of gesture out of a thousand blades of grass. Schöenberg anticipated her method in the way he integrated precisely poised musical detail into a whole as stoutly packed as the nucleus of the atom. The choreography was extreme in its athleticism, not the athleticism of acrobats, but a dynamic yoga of movingly human twists and turns, leaps and slides, which animated and articulated the stage with a breathtaking physical kaleidoscope of folding and unfolding arms, legs, feet, hands, torsos and heads, all of it strikingly integrated into the musical design of Schoenberg’s score.” Stephen Pederson, The Chronicle Herald
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About Rebecca

Rebecca Lazier“All dancers have beautiful bodies. Rebecca Lazier has a magnetic one. Not only does she unfailingly draw the eye, she conveys such a strong sense of connection to the floor that she seems unable to put a foot wrong. More, her choreography imparts that sense to the dancers who work with her. A solo, Sepia, displays all of Lazier’s strengths as dancer and choreographer: her clean articulation, trust in momentum, and ability to communicate ideas without signposting them.” Kelly Kleiman, Chicago Reader

“Lazier’s quirky solo and her only appearance, reveals her to be a sturdily built dancer—not slim, not sleek—with a sense of humor and few inhibitions.” Eva Yaa Asantewaa, Village Voice

“Lazier transformed her introductory speech into zany performance art. She carried on, careened and crashed to the floor in an over-the-top routine that astonished with its audacity. Contusion: a combative, intensive piece to the live and truly wonderful percussion score composed and played by Shane Shanahan.” Tony Anganaro, The Hartford Courant

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