FromTHE NEW YORKER -- 3/31/14

“Osserman has been making eccentric and original work since the seventies”


From THE NEW YORK TIMES -- Siobhan Burke 4/1/14

An Enigma, Bound by Chaos, Staged by a Veteran Choreographer

Vestigal, by the Wendy Osserman Dance Company

"Any opportunity to see the dancer Cori Kresge is welcome. When she was a member of the Merce Cunningham Dance Company’s Repertory Understudy Group, her steely, sensuous strength and staggering facility made you question her status as an "understudy." In works by the Cunningham alumni Rashaun Mitchell and Silas Riener, she has been just as incisive, if more animal, almost otherworldly, in what seems like her insatiable need to be dancing.
On Friday at Theater for the New City, Ms. Kresge brought those virtues to Vestigal, a new, hourlong piece by the veteran choreographer Wendy Osserman, who has been presenting work in New York since 1976. The premiere marked Ms. Kresge’s 10th anniversary with the Wendy Osserman Dance Company, and evidently it has been a fruitful decade. “Is it that we are kindred spirits or that she has superior mimetic ability?” Ms. Osserman wrote in an effusive program note. (They met when Ms. Kresge was a college freshman.)
Indeed, if anyone captured what Ms. Osserman was going for in this three-part enigma — trios bookending a solo danced by the choreographer — it was Ms. Kresge. Articulate and alert in her frequently avian gestures, she seemed more committed than her capable colleagues (Lauren Ferguson and Emily Vetsch) to the premise that they had all just discovered their own human bodies… If anything holds “Vestigal” together, throughout what feels like a sequence of random encounters, it’s chaos: Ms. Kresge and Ms. Ferguson pressed, back to back, locked at the elbows; Ms. Vetsch scuttling past them in an apelike squat; all three straining to outstretch their own limbs… As a performer, Ms. Osserman, who is (hard to believe) in her early 70s, has her own kind of magnetism. “Who wants to be vulnerable, really?” she asks during a monologue about, of all things, trilobites. Just by saying that, she shows that she’s willing to be, much like her kindred spirit."

CLICK HERE to view excerpts from Vestigal

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From EYE ON THE ARTS, NY -- Jessica Moore 4/16/12

"With the premiere of Compromised at the Hudson Guild Theatre, Wendy Osserman Dance Company explores the polarization of the political stage through an evening-length work created by Osserman in collaboration with four dancers.
Set to musical arrangements of Eric Satie and drummer Victor Lewis, the score also includes interviews with people representing both right- and left-wing viewpoints. The tone of the performance is generally light and breezy; Osserman manages to avoid treating this over-wrought subject with a heavy hand.
As a soft hum of jazzy drums starts to play, dancers Milan Misko and Cori Kresge enter from the back of the small theater, heads bobbing like chickens, eyes alert, scanning the scene. Both dressed in dark suits, Misko takes the lead as Kresge dutifully echoes his movements—the image of an eager campaign aide comes to mind…Osserman herself appears several times throughout the piece, often accompanied by text that pits progressives against conservatives; this ideological split is reflected in the lighting, which alternately illuminates and darkens halves of the stage. As if trying to guide the discussion, Osserman stands center stage, directing traffic with her hands before finally giving up; apparently the effort of making opposing sides listen to each other is just too much.
Osserman’s movement follows the light, improvisational vein established early in the piece; it often appears that her body is making its own decisions about what it wants to do—sometimes she tries to control it, and sometimes she just goes with it."

CLICK HERE to view excerpts from Compromised

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ARTS / DANCE | March 29, 2008 THE NEW YORK TIMES
Dance Review: Provoked by a Force of Nature
By Roslyn Sulcas

"Ms Osserman has been creating dances since the early 1970's, but there is nothing old fashioned about 'Out of Place,' made in collaboration with the Czech composer, violinist and singer Iva Bittova. In fact the work is provocative precisely because it feels like a new amalgam of some indefinable kind...Ms Osserman uses Ms Bittova as a force of nature in the work...there is a kind of magic, a sense of being taken to a place you might never visit again." She also mentions "a mesmerizing solo by Ms. Osserman".

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“Wendy Osserman has been making quirky, highly individual work for years, and her new ‘more is more is more or less’ is likely to be as particular as ever.” (THE NEW YORK TIMES, 5/14/09)

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"Modern dance, to 'Free as a Bird'? Perhaps not the usual stuff of a John Lennon tribute concert... The Wendy Osserman company presented a free-flowing duet to 'Free as a Bird,' nicely capturing the whimsical song's mood." THE NEW YORK TIMES

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Voice of Dance Forums
Dance Review:
"Gertrude Stein reads in SoHo"


World premiere of "more is more is more or less"
Osserman - Bittova collaboration.
Wendy Osserman Dance Company featuring Iva Bittov
á
Presented in association with Joyce SoHo
Joyce SoHo New York
May 21-24, 2009

“ 'more' engages and flows from the beginning. It’s light, humorous and eccentric, with moments of mild cacophony, delighting and providing, as Stein did in her own day, unexpected pleasure."

For full review by DAVID ST.-LASCAUX © 2009 Click here.

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New York Theater Wire

DANCE | March 28, 2008
Haunted Place
By Jack Anderson

Click here for full review of WODC's first collaboration with Iva Bittová

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View the NYT article on the 28th Annual Lennon Tribute
Wendy quoted and company photo

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For a review of SURRENDER, our 2007 production, see "Reports from the Field" "Set Surrenders to Dance" by Jessica Sheridan 6/26/07

For Full Review

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QUOTES

"STICKING WITH IT
Veteran New York dancemaker offers insight into emotions and a howl re the re the state of our nation:
. . . Powerful stuff. You go girl!"

Deborah Jowitt, VILLAGE VOICE, 5/30/06
for complete review, visit http://villagevoice.com

"Osserman is still out there making dances with classic aesthetic and humanistic values, keeping a sharp-if ultimately loving- eye on the state of the world, and looking fabulous to boot. If I were a choreographer I'd envy Osserman for her smashing ensemble. . . They are the right dancers for Osserman's sculptural, expressionistic poetry." 2006, Eva Yaa Asantewaa

"Repeatedly the kind of support on view defines the emotional relationship depicted between the performers. In formal terms this seems to be Ms. Osserman's governing idea and it is a sophisticated concept. . . .These are studies in emotion as well as motion...movement and support used to generate dramaÂ…a welcome fresh note."

Anna Kisselgoff, THE NEW YORK TIMES

“A woman of taste and talent” "her drive and fluency are clear."

Deborah Jowitt, VILLAGE VOICE

“Wendy Osserman likes to invent unusual ways of getting dancers together…most ingenious…"

Jack Anderson, THE NEW YORK TIMES

“her program of well-made, expressionistic dances. . . (was a) winning evening. . .”

Lisa Jo Sagolla, BACKSTAGE

"Osserman is possessed of surprising lyricism...The entirety of Osserman's work was so finely orchestrated...the fullness of feeling made the fullness of the Dance."

Eva Yaa Asantewaa, Dance Magazine

“Osserman finds cosmic implications in personal experience. . .”

Gus Solomons Jr, THE VILLAGE VOICE

"Superb...Osserman creates a delicate hybrid of the old and the new."

Sharon Basco, THE BOSTON HERALD

"sculptural images and a quirky contortionist sensibility that is oddly appealing...Osserman's movement transposes the sensual physicality of Latin dance rhythms into something very different, forcing us to look at it with new eyes."

Lynne Conner, THE PITTSBURGH PRESS

"A kinetic sculptress...This lady's a remarkable performer...innovative and with an ability to make phrases appear freshly minted and gleaming."

Lillie F. Rosen, THE JEWISH JOURNAL

"something I will remember...the piece seemed primal, raw. It built up and seemed like something was going to explode. I want to see it again..."

Michael Black, HOUR online, MONTREAL

“fluid and distilled pieces. . . as much physicality as you could want. . . “

Francis Duffort, ICI, MONTREAL

>> Excerpts from a Review of SPLIT 2005

Click here for Modern Dance at Old Theater about North Carolina appearance in Sept '09

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