Press & Features
Feature: Improvised Dance Embodies Complexities of Social Decisions
By Molly Sharlach
Princeton University News, February 21, 2019
Focused on the art and engineering collaboration between Lazier, the TMBO artistic team, science dramaturg Naomi Leonard, and her engineering team. “A work of art evolves from a series of decisions. . . When a group of interacting dancers improvises a performance from a repertoire of possible movements, the dynamics of the artistic decisions become even more complex.”
There Might Be Others, a Work of Spontaneous Sound and Movement
By Siobhan Burke
The New York Times, March 9, 2016
“It’s a work about the art of making decisions, wherever they may lead.”
Review: Rebecca Lazier and Dan Trueman—There Might Be Others
By Eva Yaa Asantewaa
Infinite Body, March 18, 2016
“Lazier has gone big, supported by Trueman and all their performers in making a gutsy, unforgettable mark in this historic theater. . . 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.”
Feature: The Choreographer and her International Cast Prepare for the Premiere
By Garnet Henderson
Dance Enthusiast, March 15, 2016
“Sitting in on a rehearsal for Rebecca Lazier’s There Might Be Others on the second day the full cast was assembled, I thought the dancers had been working together for months. Later, I learned that the intense connection I sensed in the room was a function of the task Lazier has created in her new work . . . inspired by minimalist composer Terry Riley’s In C.”
Review: With Accidental Choreography, Poznan’s MALTA Festival Kicks Off In Style
By Stanislaw Godlewski
Gazeta Wyborcza, Poland, 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.”
Television Feature: PBS THIRTEEN NY-Arts (cue: 2:58)
May 29, 2013
Christina Ha presents the latest arts news on location, featuring the Lazier/Newspeak collaboration Coming Together/Attica at The Invisible Dog.
Preview: Summer Guide to Dance—Coming Together/Attica
By Elizabeth Zimmer
Village Voice, May 22, 2013
“A live performance (by indie-classical ensemble NEWSPEAK) of Frederic Rzewski’s passionate 1971 Coming Together, written after the Attica prison riots, inspires what choreographer Rebecca Lazier calls ‘a kinetic meditation on isolation and collision, order and chaos.’”
Feature: Culturebot—Shit is Fucked Up and Bullshit
By George Grella
Culturebot, Posted June 7, 2013
“There’s a reason that I’ve been able to catch several performances of Fred Rzewski’s viscerally thrilling pieces Coming Together and Attica over the past few years: shit is fucked up and bullshit. . . Lazier appreciates how the power of the music is untempered by an explicit message about how we are supposed to think and react—she’s in tune with Rzewski’s humanism.”
Review: Rebecca Lazier
By Eva Yaa Astenwaa
Dance Magazine, Posted June 17, 2013
“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.”
Review: From Captivity to Liberty, Punctuated by Violence
By Alastair Maccaulay
The New York Times, June 18, 2013
“Thanks largely to live music, but also to excellent dancers and a memorable use of space and lighting, 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.”
Review: Rebecca Lazier and Newspeak Reinvent Rzewski’s Attica with a Bruising Intensity
Lucid Culture, Posted June 14, 2013
“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.”
Review: Coming Together/Attica Shows Dignity in the Face of Atrocities
By David Pearson
I Care If You Listen, Posted July 3, 2013
“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.”
Preview: Eager for Release on a Big Stage
By Siobhan Burke
The New York Times, June 7, 2013
“Bodies will clash, too, likely with thrilling dexterity. The collective presence of Ms. Lazier’s excellent dancers is enough to electrify any space.”
Review: Connections Wanted—Inquire Onstage
By Gia Kourlas
The New York Times, January 30, 2009
“Lazier’s new Terminal, performed by her company, Terrain, at the Joyce SoHo isn’t so much a place as a state of mind.”
Review: Terrain—Terminal at The Joyce Soho
By Jacqueline Barba
Explore Dance.com, January 30, 2009
“Less a visual experience than a sensory experiment—one that transcended its inherent contrivance to create a real and recognizable portrait of an emotional moment.”
Review: TERRAIN's Williams, Owens, and Lafferty
By Eva Yaa Asantewaa
Village Voice, September 7, 2004
“TERRAIN’s name suggests substance and texture, rightly standing for what Rebecca Lazier, Renée Archibald, Jennifer Lafferty, Daryl Owens, and Christopher Williams shape across space in Lazier’s evocative choreography.”
Review: New Terrain at The Kitchen
By Eva Yaa Asantewaa
Village Voice, May 14, 2002
“Lazier arranged these pliable, hyperactive bodies in attractive disorder. Order—unison movement—satisfied when it came and did not overstay its welcome. Falling Awake, followed by the overly dreamy Stone’s Throw, showed more of the choreographer’s intelligent, fine control of complex material. This, 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.”
Review: Terrain
By Sophia Ernst
Show Business Weekly, May 15–21, 2002
“Wide ranging, general movement and raw physicality mark Rebecca Lazier’s absorbing dances…”
Review: On the Good Foot—Rebecca Lazier at the Dance Center of Columbia College
By Kelly Kleiman
Chicago Reader, July 26, 2001
“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.”
Review: Rebecca Juliet Lazier: Six Years Later
By Lisa Jo Sagolla
Back Stage, September 1999
“Solidly crafted dance rich in activity and striking images… fast paced and the movements interestingly unpredictable.”
Review: Lazier Puts Her Bold, Bright Style to Work
By Tony Angarano
The Hartford Courant, May 5,1997
“Choreographer/dancer/producer Rebecca Lazier does not suffer from stage fright. . . Lazier even transformed her introductory speech into zany performance art.”