“[T]here's plenty of shimmer to this silver anniversary.” –The Oregonian
“[Love x 3] revealed OBT's heart and soul… The works, joined together with a theme of love, featured some of the best dancers from the company's current roster, along with the return of Alison Roper, who retired just last spring, in a passionate duet from Stowell's ‘Carmen.’” – The Oregonian
[About the pas de deux from James Canfield’s Romeo & Juliet] “Deguchi and Simcoe radiated both passion and innocence as young lovers awakening to forbidden desire. In the duet's final moment, Simcoe's Romeo flees to avoid discovery, and Deguchi flings herself on her bed with just the right mix of joy and despair.” –The Oregonian
[About Nicolo Fonte’s Never Stop Falling (In Love)] “big, joyous…” – Portland Monthly
“[Nicolo Fonte’s Never Stop Falling (In Love)] is all about old school grandeur and glamour paired with contemporary movement” – Portland Monthly
“[Jordan Kindell’s] lower center of gravity and muscular grace [in Nicolo Fonte’s Never Stop Falling (In Love)] lended him a sort of raw power that makes him impossible to ignore…” – Portland Monthly
[About Nicolo Fonte’s Never Stop Falling (In Love)] “The elegiac choreography highlighted Chauncey [Parson’s] delicate lines as well as Colby [Parson’s] brute strength… It was one of those moment where practice, technique, and creativity merge to beautiful affect.” – Portland Monthly
[About George Balanchine’s Agon] “Candace Bouchard shined with a sly, sexy confidence that extended to every wrist flip and shoulder drop during a mesmerizing solo and trio section” – Portland Monthly
“Martina Chavez and Brian Simcoe nailed [Agon’s] toughest pas de deux, a deceptively cool piece of choreography peppered with blind drops that flirt with brain injury and a lasting image of Simcoe firmly bending Chavez’s lithe body into a sort of standing swan origami.” – Portland Monthly
[About the duet from Trey McIntyre’s Robust American Love] “a wry, energetic delight” – Portland Monthly
[About the pas de deux from James Canfield’s Romeo & Juliet] “lush and lovely” – Portland Monthly
[About the pas de deux from Christopher Stowell’s Carmen] “Sultry, funny, and filled with visual puns, it was Stowell as his romantic best.” – Portland Monthly
“There’s been considerable passage of time since George Balanchine and Igor Stravinsky made Agon, which opened the show, and yet there’s definitely no sign of wear in this work that expresses the jittery, cocky, competitive atmosphere of post -World War II New York – and when danced well, which it was here, is equally reflective of our own increasingly terrifying times.” – Oregon Arts Watch
“Candace Bouchard [in George Balanchine’s Agon], who is an experienced performer, danced Dewdrop in Balanchine’s Nutcracker with the speed, musicality and limpid clarity that the role demands, and did likewise with the Spanish-tinged details of the solo that is part of the second Pas de Trois, partnered by Jordan Kindell and Adam Hartley.” – Oregon Arts Watch
“I’ll not soon forget the image of Chavez [in George Balanchine’s Agon], one leg on point, other smoothly hooked around Simcoe’s neck, proclaiming that in Balanchine’s work the ballerina is the boss. They were both fantastic…” – Oregon Arts Watch
[About the duet from Trey McIntyre’s Robust American Love] “[Xuan Cheng and Michael Linsmeier] thoroughly inhabited McIntyre’s idiosyncratic movement vocabulary, giving the duet the weight and playfulness that make it unmistakably his work.” – Oregon Arts Watch
[About the pas de deux from Christopher Stowell’s Carmen] “Parsons, who has performed such oblivious aristocrats as Swan Lake’s Siegfried and Giselle’s Albrecht, is just as convincing at callow cluelessness; and Roper, moving like a female Lucifer in serpentine form certainly did the job on Saturday night. They, and Stowell, were applauded long and hard.” – Oregon Arts Watch
[About the pas de deux from James Canfield’s Romeo & Juliet] “Deguchi’s interpretation of a 14-year-old bride who has to grow up fast was heart-rending, fresh and charming: exuberant as Simcoe lifted her and swung her around his back to perch her on his shoulder; desolate as he left her, weeping, on the edge of their bed.” – Oregon Arts Watch
“[Nicolo Fonte’s Never Stop Falling (In Love)
] showcases the dancers, celebrates the company, and contains some truly lovely moments, one of them a gentle interaction between the dancers and a strolling Forbes. The Parsons brothers’ gently physical duet, a gorgeous classical pas de deux
by Chavez and Brett Bauer, and a solo tailored by Fonte to Kindell’s developing technique and extraordinary stage presence are others.” – Oregon Arts Watch
The Huffington Post: It's Pink Martini and Balanchine for Oregon Ballet Theatre at 25
"OBT is in the throes of rehearsal for a 25th anniversary program that honors its 20th century past, and also looks ahead to its future as a cultural beacon in a city that boxes way above its weight class in the arts."
"[Agon Répétiteur Bark Cook] murmured 'beautiful' as Martina Chavez maneuvered into a deep arabesque penchée on pointe while Brian Simcoe threw himself to the ground on his back, continuing to support her with one hand. There were thrills aplenty, as when Jordan Kindell and Adam Hartley tossed Candace Bouchard high into the air. But perhaps the greatest pleasure came from watching the ensemble chew up space in low explosive jumps that often twist and change direction unexpectedly in the air - especially the cadre of men (Hartley, Kindell, Simcoe, and Chauncey Parsons)... Apart from the stunning, elegant Chavez, doe-eyed Eva Burton was a revelation in rehearsal - flipping between stark hyperextensions and softly regal classical positions with astonishing ease - as was Candace Bouchard, who pairs the serenity of a Botticelli with the athleticism of a modern American Olympian."
"Ansa Deguchi is a reckless young teenager in James Canfield's Romeo and Juliet, trying to prevent the sensitive Brian Simcoe from leaving her bedroom at the crack of dawn. The petite Deguchi radiates clean lines, and communicates with her beautiful arches and delicately expressive fingers and hands."
"The party atmosphere in the rehearsal studio kicked into high gear when Pink Martini's irrepressible Thomas Lauderdale, dapper in grey suit and bow tie, bounded in and settled in behind the piano. The company is not simply dancing to previously released arrangements of Pink Martini hits; Fonte and Lauderdale have shaped some old and some unreleased songs into a purpose-built score."
"Never Stop Falling is a big ensemble number, full of luxurious, slinky, flirty movement... The work brings out individual dancer personalities: the fearless Xuan Cheng, sultry Martina Chavez, and coltish Sarah Griffin. And among the men, the romantic Jordin Kindell, the haunting Chauncey Parsons, and the noble, mysterious Brett Bauer."
- Read the entire Huffington Post Preview, October 7, 2014