Press Review

Reviews "SoundMoves"

“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.”

Martina Clavadetscher, Neue Zuger Zeitung 21 April 2008.

“Four choreographers with different styles, along with the musical duo Stimmhorn, with their unconventional tonal world of alphorn sounds, ram’s horn, yodeling, belching and overtones. How can this fit together? It couldn’t be more perfect, as the Basel premiere showed in the Kaserne Theatre. . . . (The dancers) understand with ease how to translate into practice very differing approaches.”

Oliver Schneider, Basellandschaftliche Zeitung 17 April 2008

Reviews "227 Kilojoules"

“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.”

Ursula Haas, Basellandschaftliche Zeitung, 14 June 2008.

Reviews "Short Cuts"

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)

Reviews: "Game of UR"

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)

Reviews « Running the line »

« The energy of the dance breaks out of the bare space, moves between secureness and insecurity, searches for the transformation. The choreography, by company member Duncan Rownes, is impressively exciting and disturbing. Long applaus. »
Basellandschaftliche Zeitung, 22.11.06, Tara Hill

« The choreography shows a strong, subliminal force, which the dancers express brilliantly. »
Basler Zeitung, 22.11.06, Judith Opferkuch

Reviews « Grenzen/Borders »

« On the same stage, which had just seen Rownes’ classical reduction of body and movement-language, the second part of the evening is quite a shocker, doing away with anything that might call itself ballet. The dancers have remained the same, but have suddenly mutated into a swift-footed football team. »
Badische Zeitung 22.11.06, Annette Mahro

« ‘Moving Borders’ brings two very moving choreographies onto the stage. Both fascinate by their originality, and oscillate the fantasy of the audience into free association. »
Birsfelder Anzeiger, 22.11.06, Katharina Morawietz.

Review FONDATION BEYELER « Eros » Exhibition

« 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.

Reviews: A SERIOUS BLACK DRESS

« 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