Dance Criticism

I started yoga after dancing professionally. I needed something to fulfill the passion I had experienced with dancing. Yoga gave me that and much MOR. In fact, it was with one of my dance colleagues that I first practiced yoga. Turns out many of my yoga peeps and senior teachers also came to yoga this way– after dancing with choreographers and companies like, Twyla Tharp, Martha Graham, Lucinda Childs, and others. Years later I was asked to review a dance concert and then suddenly found myself writing about many of the companies and choreographers who had always been my inspiration.

Below you will find my reviews and interviews of companies, choreographers, and dancers such as; Wendy Whelan, Batsheva, Nederlands Dans Theater, Sankai Juku, Alvin Ailey, Mark Morris, Lucinda Childs, Bill T. Jones, Paul Taylor, Pilobolus, Mark Abraham, Hubbard Street Dance Chicago and, MOR. There are also music reviews of Philip Glass and Meredith Monk, as well as critiques on dance documentaries such as “Bobbi Gene“.

David Moreno - Dance Criticism
David Moreno - Dance Criticism

“…You have a way of letting us “know” the object of your review (film or solo)  both from your perspective but also as it stands on its own. Your prose gives us a narrative and a physical feeling ….. I love the feeling of physicality and the physical presence you offer the reader. You see both the whole, the arch and the momentary. Very lovely.”

- KT Nelson ODC San Francisco

I won my first dance contest on a Los Angeles TV program called “Boss City” when I was 16 and in my early 20s began dancing in musicals, operas, liturgical and, experimental dance troupes. I also studied with dance pioneers Steve Paxton (Contact), Emily Conrad (Continuum) and, Anna Halprin (Postmodern Dance.) Their influences — along with my yoga gurus — greatly impact how I move and teach. I am currently intrigued by the Gaga method of Ohad Naharin which seems to reinterpret the works of Conrad and Halprin into a fresh new format. In San Francisco I dance with one of the few certified Gaga instructors, James Graham.

“…BIG Thanks! This is a review to treasure–even more for the writing than the glowing comments… Your descriptive writing captures the spirit of the work–“bubblegum!”…I love that you caught that I both want to brush aside and honor the whole “25th” thing with “pervasively instinctual tongue-and-cheek sensibility.

- Scott Wells Choreographer & Artistic Director – Scott Wells & Dancers, San Francisco

Les Ballets Trockadero De Monte Carlo

(pri·ma don·naˌprēmə ˈdänə/ “a very temperamental person with an inflated view of their own talent or importance.”)

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Kyle Abraham/Abraham.In.Motion

From the minute Kyle Abraham hit the stage in “Pavement,” dribbling an imaginary basketball then taking that movement into fluid modern dance and back, his signature hip hop, streetwise trademark was in motion.

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The Wooster Group’s “Early Shaker Spirituals”

“Tis the gift to be simple, ’tis the gift to be free, ‘Tis the gift to come down where we ought to be, And when we find ourselves in the place just right, ‘Twill be in the valley of love and delight.”

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Les 7 Doigts de la Main Circus

Sequence 8 (West Coast Premiere)

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Restless Creature: Wendy Whelan

An hour-long intimate dance recital of works by four very different leading choreographers, all of whom have created specific dances for prima ballerina Wendy Whelan.

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Golden Girls: The Christmas Episodes, SF

Sing out of key the original Golden Girl theme song en masse–which apparently everyone in San Francisco knows.

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Alonzo King Lines Ballet

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Dohee Lee World Premiere

Mago In Three Parts

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Joe Goode Performance Group

“He’s a good boy…Heeee zzza Goode boooboi…He’s a…” chants and slurs Melecio Estrella at the start of “29 Effeminate Gestures.”

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