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press clippings
radiant imprints
  Given the
unrelenting harshness of the economic climate that surrounds New York's
downtown dance scene, it makes sense for choreographers to band
together under a collective umbrella. ...Judging by the full house at
the Merce Cummingham Studio Saturday, this formula appears to be
working for InnerLandscapes Dance Theater. ... "Radiant Imprints"
(was), an evening of multi- media dance theater exploring various
psychological issues and the multi-facted inner workings of human
relationships. ..The evening boasted high production values , a number
of original scores,interesting video projections, and beautiful
costumes. — Dance Insider Darrah Carr 3/3/2005
 Sullivan's “Illusion" (was) the most powerful work on the program... Sullivan's
group work, "Three Women" very clearly demonstrated the notion of
connectedness among three generations of women....kudos to Pauline
Chalamet for her flawless ballet dancing in the role of the young
child. — Backstage Lisa Jo Sagolla
evidence of light
Ms. Sullivan's Femme
Debout (Woman Standing) was a brief
but vivid solo in which Rachel Grisi struggled to stand tall and reach
high. And Ms. Sullivan sent dancers happily cavorting in her Yidel
Mitn Fiedel and other favorites. — Jack Anderson, The New York
Times
exit in
 “Sometimes
in dance, simple things are best. That was certainly true of Exit
In, the program that of works the InnerLandscapes
Dance Theater offered on Thursday night at the Merce Cunningham
Studio. The company seeks to explore complex layers of experience. Because
one knew what the characters in two pieces by Kathryn Sullivan were basically
up to, that helped make them interesting to watch. Jack
Gets Up showed Mary Wadkins twisting and turning and rising
and collapsing in preposterous comic struggles to get out of bed.
Nomi Bachar played a woman waiting to hear from a lover in The
Telephone Call, which she choreographed based on a story by
Dorothy Parker. Her gestures of hope and frustration were both comic
and poignant. Through this simple but vivid and realistic situation,
Kristin Pontz occasionally wafted like a veiled wraith.” —
Jack Anderson, The New York Times
 “InnerLandscapes
Dance Theater is a collective of four women choreographers
who come to dance from various backgrounds. The very diverse pieces are
woven together elegantly…Everlasting Story/NeverEnding
Murder…lives up to its title. …Blind
Black Blues by Kathryn Sullivan is whimsical and sweet. Three
women in identical skirt suits and platinum blond wigs begin the dance,
wielding suitcases. As the piece progresses we see that these identical
women are by no means the same beneath their shiny facades. …Utilizing
some amusingly quick footwork to upbeat blues music, the piece picks up
the pace of the program. Snakewoman
by Nomi Bachar, presents a mythological scenario.…suggest images
of Adam and Eve, animal and human, mother and dependent children. The
dancers are creditably lithe and slinky.” — Liz Belton,
New York Dance Fax
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