SAN DIEGO MARFA SAN FRANCISCO NEW YORK INDIANA BERLIN MEXICO ELSEWHERE

"The members of Lower Left have opened up artistic expression in San Diego not only through their performances, which regularly have been season highlights since 1995, but through their educational mission, which has expanded the vocabulary of dozens of local performers."

—Jennifer DePoyen, The San Diego Union Tribune, 2002
 

 ATTENDANCE

 

"Lower Left excels spontaneously!...A moment is illuminated; this is the essence of dance."

—Jennifer de Poyen, The San Diego Union Tribune, 2004
 

AVAILABLE SPACE

 

"Lower Left gets it right with spontaneous 'Ensemble Thinking', the process by which Lower Left has created some of the most envelope-pushing dance in town."

—Janice Steinberg, The San Diego Union Tribune, 2002
 

"a lively, improvised give-and-take that stirred ideas and emotions and celebrated the instinctual sharing that transports dancing into a mystical realm."

—Jennifer DePoyen, The San Diego Union Tribune, 1999
 

"Improvisers take up Space with great talent and verve. Available Space provided a close-up look at the creative process; Lower Left both confirmed its promise and reached out into the dance community in ways that are good for everybody who cares about dance in San Diego."

—Anne Marie Welsh, The San Diego Union Tribune, 1997
 

"Making noise in dance as the year turns. Available Space was the highlight of the dance year here.  The members of Lower Left Dance brought downtown New York to (San Diego) over the weekend."

—Anne Marie Welsh, The San Diego Union Tribune, 1995
 

ASSORTED FACTS

 

"an intriguing smartly paced show that reveled in pure movement, veered into politics and drew on novel ideas about what constitutes a dance."

—Jennifer DePoyen, The San Diego Union Tribune
 

HORNS WINGS AND TALES

 

"Soaring polemic and satire, moments of beauty and anger...a trapeze act - with a bearded woman thrown in...an insistence on an honest acceptance of women's strengths. the most eloquent parts of the piece were when the dancers - using complicated rigging - swung themselves out over the audience as if they had become suddenly and unaccountably free."

—Devorah Knaff, The San Diego Union Tribune
 

"Accessing choreographic strategies from both postmodern dance and feminist performance art, Lower Left achieved a mode of theatre that was at once avant-garde art, virtuoso dance, raucous entertainment."

—Kirsche Dickson, Theatre InSight
 

HARD TO SWALLOW

 

"So mature and varied were Blount's content and movements, she reminded this reviewer of the potential, but rarely experienced, power of experimental dance."

—Michael Barnes, Austin American Statesman
 

INTERIOR OUTINGS

 

"A distinctly postmodern method is one of the better things about the work of Nina Martin and Mary Reich. It was a treat to see Blount's blunt, uninflected, anti-lyrical movement up close, to watch her toes and feet center her, to share the movement that linked her less to everyday humans than to the animal in all of us."

—Anne Marie Welsh, The San Diego Union Tribune
 

STRICTLY OPEN

 

"Deconstructing the standard relationship between performer and audience."

—Jennifer DePoyen, The San Diego Union Tribune
 

NOT TO BE SEEN

 

"The conceptual frame was inviting - grainy film, slides and intense music ricocheting off images of gun targets, hoop skirt frames and bodies rolling and running in frantic acts of escape."

—Michael Barnes, Austin American Statesman