Selected Press


Review for Alyce Finwall Dance Theater's


by Heather Desaulniers, Critical Dance


"Over the next twenty minutes, the duo cycled through an emotive and provocative pas de deux. Finwall’s choreography compelled with its combination of contemporary release technique and contact partnering peppered with flashesof classical ballet."


Review for Alyce Fnwall Dance Theater's "RUNE"

by Heather Desaulniers, Critical Dance


"The choreography is one thing and then suddenly becomes something else, and the moment of transition was cleverly elusive.  It is a completely fluid interweaving of the diverse phrase material.  And just like a wave, pinpointing the intstant of formation or dispersement is tricky, but the experience in the moment is both full and rich."

Review for Alyce Finwall Dance Theater's "Shapeless Crown"

by Heather Desaulniers, Critical Dance


"a choreographic marathon of genre, style, humor and intensinty"

Four Stars for Alyce Finwall Dance Theater's "Angel"

by Rachel Holdt, Oakland Examiner


"Angel" builds upon the idea of solidarity, and follows with stirring, repetitive movements that invite the audience to witness and emotionally charged breakdown of the intimate relationship developing on stage."

Interview with Alyce Finwall about "Angel"

by Lauren Singer Post


"Angel" had been hailed as a provocative, sensual, and fluid performance full of sexual energy, aggresssion, and power.  The performance evokes feelings of inadequacy and physical limitations, searing with desire and anguish while backed up with the music of Biosphere, Carson Whitley, The Beach Boys and Joy Division.


"Young Urban Warriors from San Francisco"

by Jim Tobin


" (The dancers) were animals first, then morphing into full body dancers.  They worked in solo, duets and small companion groupings.  They helped each other with their movements; lifting of legs, twirling of bodies.  Then they pushed each other apart, they even fought.  At times they tear at each other's clothing.  Then back once again helping and dancing with each other.  Back and forth they traverse thru their night time of dance."

Review for Enter Demeter 

by Daria Kaufman in SF Examiner


"Enter Demeter is an impressive and accomplished choreographic symphony, replete with fleshed out moods, movements and variations that, while contrasting and diverse, weave as a seamless patchwork."


Alyce Finwall at Cedar Crest College

The Morning Call, January 16, 2011


"Enter Demeter celebrates women and life.  Nine dancers move together or apart, hold each other, refect eah other, pulled by forces unknown or interior motives, like puppets on isolated strings, or connected by a benign machine.  They look, they wait, they go through the motions of work; they weave like willows or kick like muled."


By Rohan Preston

Staff Writer   

Published: June 23, 2002
Edition: METRO
Page#: 8F

 THURSDAY-NEXT SUNDAY: Has Alyce Finwall turned sunny? The former Twin Cities dancer-choreographer, now New York-based, has been known for the brooding surrealism in her choreography as well as a fierce fluidity in performance. Finwall, founder of the Dance Council and an alumna of Myron Johnson's Ballet of the Dolls, has left intellectual abstractions for something more concrete and optimistic. Her new work, ``Come,'' is a call to togetherness. In it, she presents images of isolation and community, using knotty, tangled movements that give way to free-flowing, open lyricism. The new theatrical work, a one-hour suite featuring four dancers, also includes whistling and singing as well as water and snow. (8 p.m. Thu.-next Sun., Southern Theater, 1420 Washington Av. S., Mpls. $18. 612-340-1725.)

Published: June 29, 2002
Section: NEWS
Page#: 09B

Barefoot `Come' helps choreographer Finwall gain a toehold

By Camille LeFevre   

Special to the Star Tribune


Alyce Finwall is working hard to create a niche for herself. In her barefoot ballet "Come," the New York choreographer, a St. Paul native and former dancer with Ballet of the Dolls, grafts modern-dance moves and vernacular gestures onto an abstract style rooted in classical ballet.


 Her smart choreography is full of surprises. The 75-minute work (performed without intermission and set to a sound score by John Jindra) shows a solid intersection of technique and execution, choreography and composition. And Finwall and her three dancers are exacting in their performances, even injecting the latter part of the piece with flecks of humor.


The non-narrative work has two parts, separated by a rebirthing scene. In the first section, the dancers, dressed in oversize white shirts, hold firm positions that melt into momentum. They reappear in black and red costumes, juxtaposing the choreography of angular lifts and straight lines with fluttering hands and rippling torsos.


They intercept one another in intriguing ways. Bodies revolve inside another dancer's curved arms. Hands cover eyes and forearms encircle waists, creating cages that dancers must fight their way out of. Suddenly the stage is flooded with white light, and the dancers perform in robotic unison before collapsing on the floor.


In the piece's one predictable moment, the dancers douse themselves with buckets of water. Youri Kayama slips through a slit in a paper doorway, and so begins the second part of the piece, filled with softer movements and a hodgepodge of costume changes.


Kayama dances like a rag doll in the spotlight. She meets up with the other three dancers (Finwall, Kathleen Bibalo and Kyle Shukis), who are dressed as Puritans. Finwall and Bibalo perform a lilting duet full of liquid arms and fluid spins. And all four dancers reappear in black tutus, clapping as they perform the most classical section of this abstract barefoot ballet.


Is "Come" better than a lot of dance performed in the Twin Cities? Yes. Is it groundbreaking? No. But with this piece, Finwall shows that she has found a niche she could make her own.


- Camille LeFevre is a St. Paul writer.






Who: Choreography by Alyce Finwall for Dance Council Movement Theater.


When: 8 p.m. today and Sunday Where: Southern Theater, 1420 Washington Av. S., Minneapolis.


Tickets: $18. 612-340-1725.