DUNJA JOCIC | BIRD PRODUCTIONS - DE PANTER
https://dvhn.nl/cultuur/De-eenzaamheid-en-horror-van-het-moderne-leven-27639013.html
‘Prize-winning Dance Performance from Dunja Jocic makes the loneliness and horror from modern life tangible’ ★★★★★ - Then a woman (Kalin Morrow) crawls into the picture…“Fear finds its way". The man (Lukas Karvelis) and the woman wear the same clothes as the man in the apartment (Shay Partush). There is contact, but it is cold and lifeless. Are they doppelgangers? Splits? Phantoms that exist only in his own mind? The three dancers entwine and disintegrate into insanely virtuosic duets, trios and solos, danced in a visual language which is graceful as it is angular, mechanical and frenetic. And unbelievably rich in expression.
The madness in the staring gaze of the woman is pure horror.
Everything melts together in this performance that grabs you by the throat for an hour.
(Translated from Dutch) Dagblad van het Noorden, Job van Schaik, 27 April 2022
DUNJA JOCIC | BIRD PRODUCTIONS - ARCUS CLOUD (WITH CELLO OCTET AMSTERDAM, MUSIC BY MICHAEL GORDON
https://www.theaterkrant.nl/recensie/arcus-cloud/dunja-jocic-en-cello-octet-amsterdam/
Critic’s Choice - Arcus Cloud means arch cloud. This meteorological term, also known as a roll cloud, is usually a sign for approaching severe weather. That storm has already erupted in all its intensity in the performance. The two dancers (Ornella Dufay-Miralles and Kalin Morrow) have to hold their own in the overwhelming avalanche of images and sounds. It is Jocic's choreographic strength that even that succeeds. Not by claiming a major role for the dance, on the contrary. In the first part, only the musicians are present, at the front left of the stage in a circle around a circle of white light.
Their movements initially remain slow, in stark contrast to the fast-paced music. Sometimes the two bodies merge, sometimes they repel each other. As if two beings have to hold their own in the mighty force of nature. At times helpless, represented by jerky movements, at other times seeking each other out for support.
Because their outfit is also strongly reminiscent of a wetsuit, an obvious association is that a swirling sea is depicted here. Or a flood disaster. But that's not relevant. The fusion of music, images and dance results in a complete work of art in which you can best lose yourself completely, with open eyes. A fever dream from which you awaken after an hour. (Translated from Dutch) Luuk Verpaalen, theaterkrant.nl, 18 Aug 2021, from performances at Noorderzon Festival, Oosterport Theater, Groningen, NL.
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Where Dufay-Miralles in tight black latex deviously subordinates herself, it is Morrow who shockingly exhausts herself - following the music as much as defying it. The result shines through the hall.
It's what you want to see and hear in it. A storm, all right, but this combination of music, dance and film, thanks in part to Morrow's scaly-looking tight costume, can just as well and just as believably evoke the association with an often ferocious and then calm sea life. Enchanting.
"Magical unity of dance, music and projections. Enchanting." ★★★★ Dagblad van het Noorden, Eric Nederkoorn, 17 Aug 2021
COOPERATIVA MAURA MORALES - CHERCHEZ LA FEMME
Morales shows the internal conflicts of Woodman, while Morrow is responsible for the artistic aspects. The dancers have incorporated fast-paced dance scenes, which reflect Woodman's everyday life, as well as the disruption of person and life situation. Her inner conflicts are portrayed by Morrow and Morales in a stunning duo. Even then, you do not look at the clock in between, when there are quieter phases, because Morales succeeds in completely captivating the audience with the choreography. And with the final scene Morales sets another climax, which stirs up the viewer in its ambiguity. With this, she has succeeded in creating yet another masterpiece that sets a timeless monument to photographer Francesca Woodman. (Translated from German) Michael S. Zerban, O-Ton Culture Magazine, 21 Nov 2019, from premiere performance in Düsseldorf, FFT Theater.
COOPERATIVA MAURA MORALES - PHOBOS
“Maura Morales has proven that power or energy fields can be built on several occasions. But with phobos it surpasses itself. Fears and solutions are offered here without being able to capture them. The seemingly sparing and almost taboo handling of the bodies of her dancers Anila Mazhari, Latisha Sparks, Elena Valls, Kalin Morrow and Paula Serrano is of an intensity that causes goose bumps more than once. For an hour you can hardly catch your breath. Whether powerful, synchronous team movements or an already excessive body nearness with hands or feet, which run through faces or have them firmly under control, whether separation pain or someone, who goes over "corpses": Morales goes over borders and under the skin.
Finally it is enough. Kalin Morrow, who plays a special role from the beginning, first as a statue in the background, then as a singer of a lullaby breaks another taboo. It turns out to be something that does not exist. A dancer with a voice. Morales will deliberately set a break here. The bodies have said everything. Now the voice has to come.
Maura Morales has presented nothing more than a masterpiece. With her exciting language of movement she has taken the human to the soul.” - (Translated from German) Michael S. Zerban, O-Ton Culture Magazine, 12 Oct 2018, from premiere performance in Mülheim an der Ruhr.
“This is where talk theater comes into play. It culminates in the monologue of an actress who opens the exclamation: "It's about owning my body!" - "It's about my body being mine!" The other dancers have gone through the audience, and have undressed, have listened to their colleague, naked on the edge. Provocatively Morales breaks the distance to the audience, blurs the difference between the actors as a fictional character and a real person. Effective, but also very striking.” - (Translated from German) Armin Knauer, GEA.de, 11 Nov, 2019, from a performance in Reutlingen Theater Die Tonne.
RYAN DJOJOKARSO - MOM:ME
https://danspubliek.nl/voorstelling/cadance-is-een-cadeau-geef-de-minister-eens-ongelijk/
“Phenomenal.” - (Translated from Dutch) Ruben Brugman, 26 Jan, 2019, from premiere performance at CaDance Festival.
“so sincere, not pretentious and, above all, quirky, that you keep thinking about it.” “…the pronounced Kalin Morrow dances her as an adult, with the equally versatile Jochem Eerdekens as her son, in whom she also seems to see the father. They play together and they fight together, there is affection and aversion.” - (Translated from Dutch) Mirjam van der Linden, de Volkskrant (★★★★), 28 Jan, 2019, from premiere.
https://www.theaterkrant.nl/recensie/momme/ryan-djojokarso/
“It is nice to see how Djojokarso reveals the battles between that first, playful mother and that second, bitter and imprisoned mother with simple actions. The first moves with her child rolling over the ground and watches with amazement how he grows and learns. And the second tries to wrestle loose because she almost collapses under the ballast of the child who literally clings to her. Deprived of her freedom.” “…Djojokarso keeps it alive and current through his interpretation, the version that still haunts his mind, to tell again night after night.” - (Translated from Dutch) Carolien Verduijn, Theaterkrant.nl, 26 Jan, 2019, from premiere.
CIE BLACK SHEEP/JOHANNA FAYE - AFASTADO EM
http://dansercanalhistorique.fr/?q=content/sequence-danse-johanna-faye-cree-afastado-em
"Nach (krump), Marina de Remedios (flamenco) and Kalin Morrow (contemporary) form a very international trio, as diverse as their choreographic origins."
"Styles and languages esonate here like a memory, to consider investing, together, other territories. Afastado em portrays the contagion of energies and the change of gaze on oneself, in the mirror offered by the encounter. And the public is also brought to another state of consciousness, by the dance and the beautiful musical creation of Abraham Diallo. If Afastado em means "far in", it is to open other horizons. And as long as the surprise can thus arise at the crossroads, it is necessary to follow the choreographers on their roads." - (Translated from French) Thomas Hahn, Danser Canal Historique, 28 Mar, 2018 from performance of Afastado em, by Johanna Faye.
PHASE-ZERO PRODUCTIONS - CURIOUS MINDS
http://www.lvz.de/Nachrichten/Kultur/Kultur-Regional/Eine-Frage-der-Neugierde
"One can certainly look at [Curious Minds] with the kind of enjoyment with which one is neither bored nor particularly packed. There is an exception, however: a solo by the American-born dancer Kalin Morrow, within 'Curious Mind' like a contrast point in multiple respects. In the bright stage light, without music and with a very frugal and nuanced body-language, sometimes supple and with sometimes angular gestures between opening and concealing, Morrow speaks of her (actual? imagined?) origin. And yes, Morrow speaks, articulates fragmentary sentences with fragmentary movements. Only, it is far from pretentious, but primed by a charming artistic authenticity and autonomy, which then makes us have a curiosity for more." (Translated from German) - Steffen Georgi, review from performances at the LOFFT Theater in Leipzig, Germany Nov. 24th, 2017
CLUB GUY & RONI - MECHANICAL ECSTASY
http://www.loeildolivier.fr/mechanical-ecstasy-rave-party-nordique-a-chaillot/
"Little by little, the light is sifted, the music intensifies. A hoarse, throbbing, gripping feminine voice is heard. She recites an hour during a sort of long-term poem. The words strike, strike. They speak of love, ecstasy, life, relationships to others, the difference between man and machine. The syllables stand out sticking to the cadence of the drum machine. On each side of the track, the performers of Club Guy & Roni enter the dance. Their bodies fly, twist, twist and go into a trance. This ecstatic energy, which emerges from these hypnotic movements, is communicated to a heated public.
In the course of this amazing show, dancers and spectators mix, the ballet transforms into a magnificent rave party. Far from any setting, the theater of Chaillot is no longer, it became for some evenings the place in fashion, the trendy place where it is necessary to be. An exceptional experience not to be missed under any pretext whether you are a "nightclubber" or not." (Translated from French) - L'Oeil d'Olivier review from Performances at Theatre du Chaillot in Paris, France January, 2017
THINK BIG RESIDENCY
Residency with Edan Gorlicki, Carla Jordäo and Ashley Wright
Produced by Hannover Staatsoper and TanzTheater International
Video on Facebook:
https://www.facebook.com/ndrniedersachsen/videos/1057609137628301/?hc_ref=PAGES_TIMELINE
Photos on NDR website:
http://www.ndr.de/Zehn-Tage-im-Zeichen-des-zeitgenoessischen-Tanzes,tanztheater548.html
KONZERT THEATER BERN
http://www.derbund.ch/agenda/buehne/Vom-Ringen-um-Identitaet/story/11171715
"The good two-hour evening (title: "Next Generation") sparkles with commitment and ideas..." "Suddenly There is Love...The American Evan Schwarz (born 1992) studied in "Manner in Mode" the power of habits. A splendid opening: In the changing light, three women [Kalin Morrow, Nozomi Matsuoka, Rebecca Journo] have a continuum arising from abstract movements, it is reminiscent of an animated installation, spoken suddenly..." (Translated from German) - Marianne Mühlemann, DerBund, 2016 (About Evan Schwarz's Manner in Mode for Next Generation, Konzert Theater Bern).
http://www.nzz.ch/feuilleton/buehne/fesseln-der-liebe-1.18681330
"Nimble and enigmatic...In this experiment, men and women, two women merge, a Trio [Kalin Morrow, Milan Kampfer, Marieke Monquil] in tender embrace. This is original choreography and is from the dance company Konzert Theater Bern, in decorated, tattoo skin-colored costumes (Slavna Martinovic), intimately danced. All are Romeo and all are Julia...This is staged nimbly and enigmatically on an almost capricious nature, recalling that to fall in love also means to surrender to a stranger." (Translated from German) - Martina Wohlthat, Neue Zürcher Zeitung, 2016 (About Guy Weizman and Roni Haver's Romeo und Julia for Konzert Theater Bern).
NO)ONE. ART HOUSE
http://artsmeme.com/2014/10/07/fresh-air-hot-night-no-1-art-house-highways/
"The audience was half-schvitzing from the room temperature, half-stunned by how stimulating, immediate and excellent the experience." "The company truly occupied Highways in the most intense possible fashion for the hour-long, fresh and super-hip dance showcase." "A thrilling time, a great pleasure, tracking the dancers’ excellent and precise execution. With not a bad dancer on the field, I found to my surprise that the troupe was as good as any in town."
"Up they popped from their chairs as a cool sound score kicked in like a shotgun. Rough-and-tumble, deep-digging dancing ensued. I love strong starts. Dance concerts rarely have them."
"Not only was the mix of dancers handsome and amiable, with every shape, color and body type represented, but a pleasant humanity radiated; it was manifest in an open alertness and sense of kindness between the dancers."
"The excellent group, all strong individuals, included: Christopher Bordenave, Christopher Carvalho, Sabrina Johnson, Charissa Kroeger, Anila Mazhari, Nia-Amina Minor, Kalin Morrow, Cooper Neeley, Jordan Saenz...Yet another harbinger that incredible things are happening in dance in Los Angeles." - Debra Levine, ArtsMeme, 2014 (About No)one. Art House's Performance of Gustavo Sansano Ramirez's Recortes at Highways Performance Space).
BODYTRAFFIC
“The unison work was impeccable; new company dancers (Christopher Bordenave, Kalin Morrow, Cooper Neely, Yusha-Marie Sorzano) moved playfully yet with perfect precision. As in Alvin Ailey’s “Revelations,” each boisterous new song reactivated one’s appetite and redrew the milieu. How easily this could be a full-evening work.” – Jean Lenihan, LA Times, 2013
http://theatrestorm.com/2013/09/30/review-body-traffic-at-odc-dance-theater/
“The company shows itself to be capable of delivering every nuance the choreographer has requested of them. The richness of their ensemble work is supported by their wide range of individual skills. They tell the story with precise unison movements, with hands, faces, voices, and with complex movement patterns that they make look as easy as walking down a street in a small, European village.” – Martin A. David, TheatreStorm, 2013
http://www.reviewvancouver.org/da_bodytraffic2014.htm
“Part dance, part theatre, And at midnight, the green bride floated through the village square is inspired by Israeli choreographer Barak Marshall’s real-life experience. Marshall’s work is as evocative as its curiously strange title. It has a linear narrative that is large on characterization, though a little light on structured dance syntax. To a recorded score that is mainly comprised of sirenical Jewish folk songs, the ten dancers (5 women, 5 men) display sensuous physicality to bring an aesthetic dimension to the dance’s pseudo-erotic themes of seduction and domination…This show was a wonderful way to kick-off the fourteenth annual Chutzpah Festival.” – John Jane, Review Vancouver, 2014
IDEAOLOGIES FILM by SARAH ELGART | ARROGANT ELBOW
"The ethereal Kroeger and mesmerizing Kalin Morrow captured the audience with free-flowing, detailed movements in bold-shaped costumes that took on a movement life of their own. Their textured movements were further emphasized by the camera’s timely use of slow-motion and close-ups, a unique way to admire the intricacies of the dancers’ technique." - Khayla Jordan Golucke, LA Dance Review, 2018
WIDEMAN/DAVIS DANCE
"I want to think that Toomer would be in sympathy with a new dance adaptation by Thomas DeFrantz's SLIPPAGE and Wideman-Davis Dance. Like the book that inspired it, CANE is a hybrid, a mix of choreography, videography and experimental set design and sound.
The choreography, by Tanya Wideman and Thaddeus Davis, is an appealing hybrid as well. It's a mix of the crisp and lyrical, with disciplines including ballet, modern and African dance...The following scene of interracial curiosity, passion and their aftermath seems an adaptation of Toomer's short story "Becky." Kalin Morrow's woman in pink circles around Davis before their tempestuous pairing." - Byron Woods, "Fields of Dreams and Passion" IndyWeek, 2013 (About Wideman/Davis Dance and SLIPPAGE's CANE).
NEVADA BALLET THEATRE
http://www.callbacknews.com/hal-de-becker-to-the-pointe/108-nevada-ballet-theatres-nutcracker-
“Preston Swovelin was a standout in the Chinese dance; as was Janel Meindersee in the Arabian; Kalin Morrow in Marzipan; Emily Tedesco in Angels; and Cameron Findley with explosive jumps in the Russian.” – Hal de Becker, callbacknews.com
http://www.lasvegassun.com/news/2010/apr/02/no-tutus-zone-bold-new-steps-nevada-ballet/
"An Incandescent Start" was the first of three new dances that received world premieres at UNLV's Ham Hall on Saturday and Sunday. Thaddeus Davis developed the piece with the Nevada Ballet dancers, and the result, set to a percussive, occasionally abrasive score by cellist Joan Jeanrenaud, was a sequence of inventive movements, unconventional lifts and arrangements of limbs. The dancers expressed alertness and alarm with push-and-pull tensions, physically mapping the music, attaining and maintaining extreme and beautifully sculptural poses, rolling back and rocking forward and sliding across the floor on their bellies, like penguins on ice. The musculature of the dancers was accentuated by the stark sidelighting and the short, sleeveless tunics in autumnal Banana Republic-style shades.” – Joe Brown, Las Vegas Sun, Las Vegas Weekly, 2010
AS A STUDENT
http://www.nytimes.com/2001/08/15/arts/dance-review-ballets-with-fresh-twists-and-fresh-faces.html
The big, soft dancing of the three ''big swans'' (Rachel Maher, Kalin Morrow and Eleanor Washburne) in a second-act excerpt from ''Swan Lake'' was a special pleasure. – Jennifer Dunning, The New York Times, 2001