WHAT THE CRITICS SAY…
"…the choreography has been carefully balanced, tastefully conceived, and sparely rendered…splendid…sophisticated…stunning” — The Village Voice (Prelude To A Kiss)
“Rarely is there seen such humanness, unabashed, and dramatic humor, as in Corning’s work, it is refreshing and liberating. She’s created a danctheater of her own mind that really leaves you wanting more of it!” — Dagens, Nyheter, Stockholm, Sweden (Two Swedes & A Blonde)
“Deft theatricality and very fine dancers…Corning’s work is witty…tightly crafted dances that delivered big-scale emotional punch…” — Dance Magazine (FILL THESE SHOES)
“Corning shows a keen wit and mature ability not to over-play her cards. Each vignette is a miniature, never running beyond its ideas, and she knows when to let go and move on to the next thing. It’s an interesting, sassy sensibility and a welcome voice on the local scene.”
— Minneapolis Star Tribune (When Harry Left Sally)
— Minneapolis Star Tribune (When Harry Left Sally)
“Corning sets the brain racing, and the mental sprint was invigorating. The irony is thick…Corning sets the audience off-balance. There’s no guessing what comes next, and while there are lots of laughs, they’re balanced by poignant moments that make the work thoughtful and persuasive.” — Akron Beacon Journal (At Once There Was A House)
“Corning’s piece, a work so rich in metaphor and meaning that it needs to be seen more than once.” — Cleveland Plain Dealer (At Once There Was A House)
“…experimental and bizarre to the hilt…imaginative concept with a mind-boggling display of movement” — Salt Lake Tribune (The Man Who Mistook His Life For A Hat)
