“There were chilling moments throughout the evening… brilliantly executed”
Darrah Carr, Dance Insider
“The work is a weirdly sad and wonderfully dramatic tour de force.”
Lisa Jo Sagolla, Back Stage
“The dangerous passion between them is evident in every muscle because their focus is so physical. The dance itself propels the tension…physically wrenching”
Emily Harney, Gay City News
“Three witches slither toward her along the floor, their pointed feet slicing like daggers, their hands contorting in ominous gestures…Harrington produces an elegant, spine-tingling chill”
The New Yorker
“Twisted and manipulative, they anxiously pull strings attached to their costumes. They are Macbeth and Lady Macbeth, whom Harrington renders convincingly neurotic.”
Robert Johnson, Star-Ledger
“Ms. Harrington; a compelling presence, she managed to seem both fragile and domineering, as if isolated by her status”.
Calaudia La Rocco, New York Times
“There were moments of manipulation juxtaposed with tender contact, instances where the momentum halted and fluidity ceased, powerful in their subversion of expectations.”
Tom Pearson, NYC Dance Journal
“a fresh sense of story and character told by the body and energy alone.”
Catey Ott, Dance Insider
“Ann Carlson’s Part 11, a low-key, witchy, dervishlike duet beautifully skated by Heather Harrington and Alyssa Stith”.
Elizabeth Zimmer, Village Voice
“surprising rhythmic and spatial relationships with eloquent gesture”.
Rebecca Todd, Toronto Eye Weekly
“But neither dance built to the kind of emotional climax achieved by Heather Harrington in “Locked Doors”, a portrait of a remembered lost child”.
Jennifer Dunning, New York Times
“It is the skillful placement of rough movement, of gestures, and of physical contact between the performers that creates a strong reaction.”
“exhibiting a wonderful weight and tension”
Gia Kourlas, Time Out
“Convergence is a dichotomy of sparseness and richness and I am drawn like a fly to that ambivalence and complexity.”
Perry Garfinkel, The Martha’s Vineyard Times
“Ruth and Judith evoked Graham’s unrelenting soulfulness, and suggested the drama of Genet’s maids, biding their time for an employer to flay”.
Alan Lockwood, The Brooklyn Rail
“She brings an intensity to her dancing that is gripping.”
“Harrington performed a final lyrical dance that was a stunning piece of emotional theater. Her last back bend was impossibly arched, her hands and feet reaching toward heaven.”