“In her dancing, Misato Inoue fluctuates between Vincent’s delusions and pure feelings, which are close together in her characterisation. In her final duet with the ‘blue’ Vincent Pascault, both dancers achieve a sense of the sad, beautiful perfection of a broken figure.”

06 June 2009, Anette Mahro, Badische Zeitung, Germany.


“As painting motives of van Gogh flicker in projections along the back wall of the Kulturraum H95, the Cathy Sharp Dance Ensemble takes a chance on an interpretation of the life and work of the artist, which at times comes across light as a feather, at other times abyssal.”

07 June 2009, Tara Hill, Basellandschaftliche Zeitung

“Striking and sophisticated . . . a firework of powerful solo and group performances.”
Maya Künstler, Basellandschaftliche Zeitung 05 December 2008


“The projection screen becomes an unsynchronized stage-set-within-the-stage-set, allowing the dancers a time-delayed confrontation with themselves,”
Annette Mahro, Badische Zeitung, 05 December 2008.

“ (…) kaleidoscopic-like arranged images, each one a small work of art.”
Annette Mahro, Badische Zeitung, Germany, 05 December 2008.

“Cathy Sharp creates moments of suspension and through sharp lighting and directional changes catapults us suddenly into another cosmos of feelings.”
Maya Künstler, Basellandschaftliche Zeitung 05 December 2008.

“The Cathy Sharp Dance Ensemble from Basel showed an impressive and playful performance. (The dancers) pave a way through the tonal and legend-steeped world. Creeping, lurking, searching and at the same time wild, strong images emerge, which together with (the music of) Stimmhorn form an impressive unity.”

“The performance begins outside, while the audience looks through the large windows and sees how the four dancers playfully hop over the steps or execute leaps, lift each other or run after each other. Together with passers-by, bicycle riders and passing trams new images are constantly created. . . . The piece comes across easily, pleasant and fresh like a summer rain.”

Short Cuts Ireland:
“a meaty work with a subtext of territorialism . . . a final quintet on a bare stage acts as a salubrious coda” (Irish Times, 19. 09. 2007)

Short Cuts Roxy:
“ . . . a colourful evening of high-class modern-contemporary dance: playful, acrobatic, cheeky and sexy.” (Basellandschaftliche Zeitung, 30.11.2007)

Kaserne Basel:
“The audience is constantly confronted by unexpected directional changes, which flash new facets into the theatrical event . . . Cathy Sharp and the ensemble have succeeded in redefining themselves afresh.” (Basellandschaftliche Zeitung, 18.05.2007)

« EROS/ PLEASE DO (NOT) TOUCH »

« Each of the six miniatures differed from each other through its specific atmosphere, body-language and musical background – an extremely successful, multi-facetted transposition of a theme, which seems to elude every definition and maybe presents itself more ideally for dance than any other art form. »
Riehener Zeitung, 27.10.06, Philippe Jaquet.

« The piece is rather more performance art with danced intermezzi than a linear chorography. This unusual dance presentation takes place not just on the stage of the Roxy Theatre, but also in the parallel spaces, in the lobby, in the bar, on the gallery, in the box office, in the hallway and under the bleachers. . . . The work shows the pleasure of experimentation of the Cathy Sharp Dance Ensemble, and of the desire to try out something new and different. »
Basellandschaftliche Zeitung, 19.11.05, Jana Ullmann

« It is also chance where the onlooker happens to be, as to what he or she sees or misses. And yet, there is a clear, black-humoured, darkly-wicked throughline in the hour-long piece. The erotic dance between man and woman loses control - play becomes serious and out of the seriousness comes dangerous play. »
Basler Zeitung, 19.11.05, Maya Künzler

« The various elements of the evening not so much explored the meaning of 21^st-century sexual definition as played about and reveled in them. And with the excellent contributions of Sharp’s international ensemble, the audience can join them. »
The Irish Times, 11.04.96, Christine Madden