Choreography Reviews

“Ann Marie DeAngelo not only choreographed “I’m Really Dancing,” but performed her formidable duties as producer and director of the entire evening. She worked miracles with what was surely little rehearsal time and put on an absolutely terrific show. Even the award presentations and stories of those that received CTFD assistance were staged with wit and aplomb. Great work!
Joel Benjamin of TheatreScene.net
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“…The Bell Witch is a perfect example of the unfettered genius that can be generated when artists get together without the burden of high seriousness weighing them down. It’s delicious and destined for repeat business at dance companies across the United States, especially around Halloween…”
Roberta on the Arts
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“ …Ann Marie DeAngelo’s The Bell Witch is a grand entertainment with a Copland-like score by Nashville composer Conni Ellisor…DeAngelo tells the story of the Bell family “witch”…with a full use of classical vocabulary…and at one point, militia men who break into, well, break-dancing, all put together with a craft that shows character and tells the story…”
Martha Ullman West in DanceMagazine
 
“…The Bell Witch is a perfect example of the unfettered genius that can be generated when artists get together without the burden of high seriousness weighing them down. It’s delicious and destined for repeat business at dance companies across the United States, especially around Halloween…”
Kevin Nance of The Tennessean
 
 “Primal, athletic movement, music by Miguel Frasconi and Silvestre Revueltas, and the dancers’ brilliant energy and feeling complete this short, sharp narrative. Torres’s performance is especially heartfelt. Ballet needs DeAngelo.”  And this from Lisa Jo Sagolla of Backstage: “The sexy program of eight lively ballets…included only three works of choreographic interest.  The premiere of a work in progress about evil spirits preying on an innocent loving couple…. La Noche…conjures a gritty, non-classical aesthetic, as the choreography allows funky Latin hip moves and torso isolations to infiltrate the ballet vocabulary in a pleasingly wayward fashion.”
Lori Ortiz of ExploreDance.com
 
"…..(translation) Founding Artistic Director of Ballet de Monterrey re-creates her Paradise to an evening more stunning version than the original.  To music of Yanni, the stage is alive with amazing movements and dramatic story.  Ms. DeAngelo’s integration of Street Dancers adds a different touch than before when Mr. Wiggles was the star.  The mix of forms works even better.  Bravo to Ballet de Monterrey for having Ann Marie DeAngelo return!"
Carla Brava, El Norte
 
"Two other pieces also concerned turmoil, Ann Marie DeAngelo based “A Glimpse” on “Mademoiselle de Maupin”, a novel by Theophile Gautier, the 19th-century French novelist and poet who also helped devise the scenario for the ballet Giselle.  The novel and the ballet tell how the poet and his mistress are both attracted to a handsome youth, who is really a woman, Mademoiselle de Maupin, in disguise.  The ballet, which received its company premiere, is a condensed version of a longer work created in 1992.  The taped accompaniment combines Liszt with music by a group called Enigma, in which solemn chanting rises above pounding rock rhythms.  The choreography throbs with passion…"
Jack Anderson, New York Times
 
Next time you want to bring down the house, leave those classical moves at the door and glide, run and strut, add some hip hop steps and a bit of break-dancing, move to in-your-face music and the result will be one of the loudest and longest standing ovations you ever received.  “Walk On” is danced to music of Richard Rodgers and choreographed by Ann Marie DeAngelo….she now choreographs works that are edgy, abrupt, sometimes disturbing, sometimes eye-popping but always involving…"
Julia Osborne, LV Review
 
"...’Ghost Town’ came to life in an excerpt from a new version choreographed by Ms. DeAngelo for the Ohio Ballet in Akron…"
Anna Kisselgoff, New York Times
 
"Ann Marie DeAngelo, former Joffrey associate artistic director, revealed the evening's highest ambition with A GLIMPSE, inspired by Theophile Gautier's 1835 novel 'Mademoiselle de Maupin'...DeAngelo's world rocks back and forth from now to Gautier's time, mixing pure dance with spoken drama....Gautier himself is a character, as are the characters in his novel, and together they explore his aesthetic proposition: 'Nothing is really beautiful unless it is useless'. DeAngelo shrewdly exploits Matthew Boyes' and Anne Mueler's comic skills, and gets a fine, slinky performance from Kristin Bacon as a voracious androgyne..."
Bob Hicks, The Oregonian
 
"...a glitzy concoction of dance forms- erupted with enough populist appeal to have an extended shelf life. The brief ensemble work for 13 women, clad in boldly decorated leotards, pulsated to a relentless Yanni score, amid the fabric of constant motion were isolated "showstoppers"."
Pittsburgh Ballet, First Night
 
" The 18-minutes ballet in three movements explores the journey from pain and resistance to acceptance and reconciliation. It combines elements of street dancing and gymnastics with classical ballet...."
Roy Berko, The Times Newspapers
 
"DeAngelo responded with a layered, textured, very contemporary ballet. Though it had no direct story line, BLACKBERRY WINTER nonetheless possessed an emotional potency. It was easy to feel her suggestions of love and death. The choreographer purposely chose to blend dance styles, combining classical technique (some women in pointe shoes, others not), break dancing and steps with a jazz-modern flavor."
Laura Bleiberg, Orange County Register
 
"...This reviewer remembers seeing DeAngelo on a Midwest tour just after she joined Joffrey in 1973. She was a small and precise dancer with an explosive energy big enough to fill any theater she encountered. She brings this same energy to her choreography today, partnered with a maturity that provides depth in movement and statement..."
Cindy Shumate, Stamford
 
"...combining elements of story theater with both funky rhythms and the classical a cappella Oriana Singers, DeAngelo's fable of death and creation is crammed with ideas....its a keeper..."
Andrew Patner, Chicago Sun Times
 
"The only section of Legends that really grabbed me by the lapels was "Stay With Me", a duet by Joffrey Associate Director Ann Marie DeAngelo, set to a concert version of the song by Bette Midler. The dancers were riveting in their violence and sexuality…a fine balance between abandon and classical control."
Laura Molzahn, Dance Magazine
 
"...A spectacle that cheers and pleases with its sense of contemporary dynamics...Ann Marie DeAngelo is the surprise, the euphoria, the spontaneous element, her vitality and technique astonishes..."
Toni Panera, Grando
"...There's the passionate, swollen, sunshiny Broadway musical score that pays tribute to Elvis. And there's the dark, agitating, complicated drama of DeAngelo's ballet that questions Elvis..."
Sasha Anawalt, LA Harold Examiner
 
"...Ann Marie DeAngelo turns out to be a surprisingly experimental choreographer. She brought great excitement to the International Ballet Festival in Havana with the creation of her work MIDLER MEDLEY. In this ballet DeAngelo combines the elements of classical ballet with her own vocabulary of natural human movement. Through superb usage of acrobatic technique, she penetrates a world of shattering solitude that is strung together through the prose of the Midler songs. DeAngelo and her dancers point to what could well be converted into a new dance language; a classically oriented technique that accepts atmospheres, attitudes, expressions of film and musical comedy, and the happening of contemporary theatre..."
Alberto Dalal, Rivistas de Revista