2004 Dance Review By Jennifer de Poyen


FEATURE | KATIE DUCK & BEN BROWN TITLE Vancouver Words by Brit Bachmann

Review Martina Del Grosso Italy Dec 2019

Review Vancouver Lucas Lund

REVIEW: HIGH STAKES – Erk Aschengreen –

Reviews 1990’s to 2004

Reviews MAGPIE

Het Parool - 31-08-2015 - Dans Collaboration - Katie Duck en Jacob Lekkerkerker
Review Orgelpark het Parool Amsterdam 2015

Mentioned on best dancer list 2007 by Wendy Perron NY

Wendy Perron of Dance Magazine writes:

Katie Duck is the Zorba the Greek of improvisation: earthy, feeling every mode of sensuality, preposterous, irresistible, polymorphously perverse. Watching her dance is like watching her body think. She is responsive to every situation and obviously enjoys getting into trouble. This piece with K.J. Holmes and Justin Morrison is sort of a round robin of quasi-sexual encounters, punctuated by nicely ridiculous utterances. There was an acknowledgement on the one hand of how inherently absurd performing is, and on the other how inherently physical-bordering-on-the-sexual it can be. It’s about bodies moving, bodies being attracted to each other. True to her mercurial (yet also somehow grounded) self, she performed a haphazardly erotic duet with Morrison, but later confessed her love (in mock Shakespearean tones) to Holmes. In the best improvisation you can’t tell what’s planned and what isn’t, but it all seems to flow, and this was true here. At the end, Duck is out in dark space alone, while Holmes and Morrison are up on the altar inching toward each other

DANCE REVIEW – A pair of moving tales well told
Katie Duck and Mary Oliver … light up the stage at Sushi

By Jennifer de Poyen DANCE CRITIC December 14, 2004

Both Oliver and Duck are strong technical performers, and yet they use their virtuosity sparingly. The emphasis is on communication, not steps or notes

Erk Aschengreen – Berlingske Tidende 2002

Katie Duck from the USA followed after the break, giving a very varied and accomplished solo performance. If it was completely improvised, she certainly made it work in an extraordinarily elegant way. She had an amusing rapport with the audience and some wonderfully grand dance scenes where she took in the whole space accompanied by Bach or Spanish folk songs. It was a joy to see her move. Katie Duck created an atmosphere; she gave the audience something. Whilst with other improvisational artists one wonders every once in a while if their own obsession with the actual process sometimes obscures the fact that the reason for standing in public, on stage, is first and foremost about sending something to the audience. This evening the improvisation roundabout turns again with new artists and the chance of a prize. Take a shot!

Monna Dithmer – Politiken 2002

On the other hand Katie Duck surprised by sometimes cruising around the foyer, sometimes throwing herself into a fluid dance on stage looking like a tough little faun, only then to jump up on the audience and tell them that her laundry gave her a kick because her husband hung it up with their cock. Tough cookie!

Jennifer Dunning, from the New York Times

2001 Talking Dancers Festival, The Kitchen Theater

The weave of text and dance was achieved less traditionally with words and text serving as both text and aural accompaniment in Katie Duck’s solo from “Love Poems”. Ms Duck’s voice and Alex Waterman’s score for cello and electronically produced sound had a murmuring quality that complimented Ms Duck’s desultory movement style in this meditation on love.

Idoia de Lecumberri (Spain) 1990

Katie Duck, with her magnetic presence, draws all the attention on her dancing and performance. All eyes are fixed on her as she emanates a halo that provokes the vibration of the public

Judith Mackrell (England) 1980

Duck’s sturdy purposefulness makes even her most arbitrary actions seem part of a life-and-death odyssey