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"Living takes practice, Susan Marshall suggests repeatedly in the truly experimental dance works that make her one of the most significant choreographers today. Her powerful imagery is concerned with process: men and women continually fumbling toward human contact, learning how to mitigate instinctive physicality into more tender fluency."
-- Anna Kisselgoff, New York Times
"Susan Marshall has emerged as one of the country's most creative and talented young choreographers, well known for combining a brilliant formal style with expressive, narrative content."
-- The News & Courier/The Evening Post, Charleston, SC
“Such originality, made flesh through virtuosic dancing and physical theater, belongs to the one and only Susan Marshall.”
-- Camille LeFevre, Minneapolis Star Tribune
"Her work can take hold of one's emotions with startling speed and power."
-- R.M. Campbell, Seattle Post-Intelligencer
"Marshall is a fresh, original, powerful voice. This performance was the finest event of the Boston dance season."
-- Christine Temin, The Boston Globe
"Marshall is immensely talented. I love the combination of formality, emotional heat, and everyday behavior."
-- Deborah Jowitt, Village Voice
"Marshall elevates nontraditional dance movement as far as she can take it, while retaining a strong sense of architecture and preserving an almost palpable emotional edge."
-- Allan Ulrich, San Francisco Examiner
"The fascination of Marshall's work lies in the way her intelligently calibrated constructions reveal nuances of human emotion. Her central subject matter seems to be the complexity of intimate relationships, the absurdities and even hidden hostilities that form part of even the tenderest friendship, the sweetest romance."
-- Tobi Tobias, New York Magazine
"Marshall knows how to cut deep into a small part of an emotional dilemma. She offers a cross-section, slicing into the heart of a problem."
-- Anna Kisselgoff, New York Times
"Just when you think you have choreographer Susan Marshall pegged, she does something totally out of line with what she's done before. And that means she's truly a creative artist."
-- Martha Ullman West, The Oregonian
"Marshall is capable of fixing the attention as few choreographers of her generation are."
-- Allan Ulrich, San Francisco Examiner
One and Only You
“A film-noir-styled detective story that marries sizzling dance theater with a droll literary aesthetic, One and Only You is a clever play on the artist’s craft, kept compelling by it’s fluid shifts between two worlds: the toilsome real world of struggling writer Jack . . . and the Technicolor fantasy world of his detective novel.”
-- Catherine Thomas, The Oregonian
“One and Only You . . . possesses a raw, urgent power. . . Marshall’s signature style is in full flower here – a potent cocktail of telling, ordinary gestures and highly charged dancing. . . A missing manuscript, a gorgeous gal and her spooky, seductive twin sisters . . . brilliantly told through slippery movement passages .. . Marshall is at her best in the world of fantasy and ambiguity, a world of few answers and endless possibilities, best expressed with a glance and a touch.”
-- Sarah Kaufman, Washington Post
“How does one show something as personal, internal and elusive as the writing process? Brilliantly, and with tremendous humor, if you’re Susan Marshall. . . Such originality, made flesh through virtuosic dancing and physical theater, belongs to the one and only Susan Marshall.”
-- Camille LeFevre, Minneapolis Star Tribune
The Most Dangerous Room in the House
“Throughout this piece, Marshall captures the eternally contradictory nature of our desires … a notable achievement, profoundly and won
-- Tobi Tobias, New York Magazine
[Christopher Renino’s text is] more than a word game, it’s a window on Ms. Marshall’s choreography. Like Mr. Renino, she generates lean, evocative images and strings them together in different combinations to yield subtle shades of meaning.”
-- Christopher Reardon, The New York Times
Les Enfants Terribles
"I have seen the future of dance opera and it works... Groundbreaking... The whole, directed with fast-paced confidence by Ms. Marshall, succeeds sensationally on its own terms... Inspired creators and admirable dancers."
-- Anna Kisselgoff, The New York Times
"Spoleto fans, the magic is back. I do not know how you could ask for anything more."
-- Carol Furtwangler, The Post and Courier, Charleston
"The work of three artists (Glass, Marshall and Cocteau) at the top of their form."
-- Michael Walsh, Time Magazine
"Beautiful, thoughtful, audacious, brainy, spectacular. It looks and sounds like nothing you've ever seen before."
-- Robert Jones, The Post and Courier, Charleston
"In Les Enfants, (Marshall) has moved out … What a pleasure it is to see her take on wickedness, glamour, wit..."
--- Joan Acocella, Wall Street Journal
Fields of View
"An unequivocal delight. The movement idiom is, as always with Marshall, plainspoken, an utterly human means of getting from here to there. Yet in this dance it takes a turn toward fantastic, melancholic grace and unfathomable mystery..."
-- Dance Magazine
Spectators at an Event
"This show should finally push Marshall into the front ranks of choreographers... a brilliant new work."
-- New York Newsday
Cloudless
Cloudless is a collection of solos, duets, and small group
works.
"...they are dramatically taut and emotionally rich.
And her choreographic brevities are often packed with
multiple implications. Sometimes they even become tangled
tales."
-- Jack Anderson, New York Times
“Marshall's Jacob's Pillow premiere, titled Cloudless (an expanded version arrives at Dance Theater Workshop next spring), is a series of vignettes…Organic is a useful but leaden word. It no more accounts for the beauties of Susan Marshall's choreography than it explains a luscious tomato. In a Marshall work, ideas and patterns, no matter how unusual, evoke natural behavior in all its complexity.”
--
Deborah Jowitt, The Village Voice
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