Jennifer Dunning – The New York Times
“an imaginative, beautifully performed pleasure… Croll is a quietly majestic still point, with a presence and a choreographic style that are the product of long, thoughtful and optimistic years in New York modern dance ”

Deborah Jowitt – Village Voice
“stunning permutations of heel-and-toe, twist, kick, and stamp.”

Deborah Jowitt – Village Voice
“Croll serenely lovely, a 1960s adventuress who travels into the subject of spiritual experience and taps her feet in Balkan folk dancing… nothing can quite match the joy of 11 brass instruments and drums blasting you to heaven, or of watching a line of men—stout and skinny, young and graying—grasp one another’s belts and whip through the tricky moves of the Kopanica in 11/16 meter, feet stamping and hopping, knees pumping faster than you’d believe reasonable. The audience couldn’t wait to jam with them.

Robert Abrams – ExploreDance
“Tina Croll, her dance company, a core of folk dancers and a marching band’s worth of live musicians presented a fusion of modern dance and Balkan folk dance at the Danspace Project. The result was one of the best modern dance performances I have seen”

Joe Mazo – Village Voice
“Tina Croll’s Watermelon Music was the highlight of “Bare Bones,” a six-choreographer concert. Croll is a wonderfully contained dancer who seemed connected to the score – Philip Glass’s “Facades” – by some metaphysical wiring device. Watermelon Music is a serene, flowing expansion from stillness and a controlled return to a personal center.”

Kate Mattingly – Washington Square News
“Croll invents movement that stretches our idea of what is kinetically possible, and then ties this movement to music in such a sophisticated manner. . . . She keeps a viewer in suspense.”

Deborah Jowitt – Village Voice
Masters of Risk – Croll, Dunn, King, Perron – P.S. 122
“These pros who began to choreograph in the ‘60s and ‘70s think deeply and with originality about movement and structure, daring to be eccentric, to pursue an idea to where it lives, to risk unsettling an audience. The four choreographers, whose careers intersected in various ways more than 20 years ago, risk an improvisation, which we spectators immediately adore. I love the fact that this isn’t about being antic or showing off or yielding to shtick. Patient and curious and amused, these people tell us something surprisingly profound about community.”

Anna Kisselgoff – New York Times
“Croll’s new work appeared full of interesting and refreshing ideas.”

Deborah Jowitt – Village Voice
“The movement was very controlled, but sinuous; even in the most athletic movements, the dancers performed with an almost oriental focus. Solos and duets are charged with a mysterious drama… like fantastic dreams, surreal collages, a wise child’s imaginings… I like to watch her move.”

Tom Borek – Dance Magazine
“Tina Croll has attained a mastery…in reflecting works of sensitive imagination and highly unique expression – works that can be desperately human or exquisite kinetic structures. Croll’s (work) had at different moments the density of movement found in a Pollock painting, the tensional off-balance in Klee and the whimsical abstraction of Kandinsky.”

No comments yet

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: