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“Toward the end of the piece, watching what looked like an ungainly ballet, feeling the floor shake, listening to the dancers' labored breathing, I realized that I too had become physically and emotionally invested in the lost lives of so many dead…” |
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“His is no transplanted version of a ballet classic, like his 1996 ‘The Harlem Nutcracker’. This violently deconstructed version…is meant to set the story rocketing around in our brains…” |
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“…the final duet…was remarkable, mirroring almost every possible emotion the two characters might have felt, from love, of course, to anger to maternal dependency to death…” |
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“Byrd wants to strip away what he sees as a veneer of polite behavior to expose the emotional greed of human behavior. And he does so sometimes with hilarious results…” |
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“Byrd is unpredictable in that his works range from the lyrically beautiful to harsh social commentary. The principle that binds his choreography is a sense of character and truth.” –Mary Murfin Bayley, The Seattle Times |
An open rehearsal with Donald Byrd is "like a blind date on a reality TV show: we’ve all been invited to watch." Sandra Kurtz, Seattle Weekly. –Sandra Kurtz, Seattle Weekly |
A “commitment to the power of dancing that is at the core of Spectrum’s mission”. –Alice Kaderlan Halsey, Seattle Post-Intelligencer |
