“Outrageous, posturing, and irreverent, [Shannon] Murphy’s physical vocabulary borrows from overt seduction, self-conscious grooming, childish acrobatics, and drunken provocation, all within the balletic framework of a bird rising from its nest, singing and dancing, and then returning. The result is an exploration of a sassy, messy femininity larger and more complex than societal expectations”
What we can learn from airline stewardesses – by Jonathan M. Stein for the Broad Street Review – October 1, 2012
“…the work achieved an intriguing dynamic between control and disintegration: The dominating elements of authoritarian control and direction embodied the piece, manifested in the stylized movement and gestures of the torso and arms, and including in one section the encasing of a dancer (Gregory Holt) within a suitcase”” where, quite amazingly, he continued his performance in muffled restraint. Throughout the performance, a tyrannical digitalized metronome provided both the soundscape and the choreographic commands to the dancers, controlling or initiating their movements.”
Public Spaces, Personal Places – by Kariamu Welsh for thINKingDANCE.net – September 14, 2012
“Private Places was a provocative, multilayered and intense experience with a diverse aesthetic palette that titillated and numbed, sometimes simultaneously”
A Year in the Life: idiosynCrazy’s One Year Vlog Project – by Lisa Kraus for thINKingDANCE.net – September 14, 2012
Doubt in air at Southern show – by Caroline Palmer for Minneapolis Star Tribune – April 25, 2011