kimberleigh a holman

“In “To Sleep!,” the cast’s six female members ... rested, wrestled, and played under the covers; the gorgeous lighting effects included a jar full of fireflies and a flashlight smuggled into bed for post-lights-out reading. But a deeper suggestion was that these performers each played the part of a dreamed self — like dreams, the characters emerged from their veils, and then subsided once again. ”

“In “An Obscure Journey” dancers are blindfolded and led across the stage by a partner. The audience is perched on the edge of their chairs as we watch the company make their way across the floor. Their trust in each other is profound. They are almost as vulnerable as anyone is once asleep and unaware of the world. It reminds one of the risks taken when dreaming.”

“My favorite (If only I could come back to see it again) is Holman’s A Secret in Three Phases. Rose Abramoff, Melanie Diarbekirian and Mark Kranz are hilarious usurpers, happily displacing one another, tumbling over each other and leapfrogging to gain position—all performed to a Mozart Piano Sonata (No. 13 in B-Flat Major, Kv. 333). Who knew! The delicious, romping choreography fits so perfectly with the music that I wonder if Mozart had it in mind as he composed those glorious runs!”

“Kimberleigh A. Holman’s riveting “whisper, rumor, rot.” began the evening. The physical phrasing of this piece is reminiscent of an aria by composer Phillip Glass. The dancers engaged in call and response movements that echoed each other and changed with each repetition. They gathered and spread across the stage like a flock of starlings.”

“Holman’s PROMETHEUS, too, resonates with compelling ideas... it’s delightful and mythic at the same time. It’s child’s play and demi-god play in a single breath.”