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The Critics  •  What the Artists Say

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)

“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)
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