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

Dr. Love“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