Read the full review of In and Out on Oberon's Grove.

Press

“She slowly traverses the space with sustained port de bras, using her marvelously delineated dorsal musculature as an expressive instrument. . . . The work certainly has a unique aura, and the communicative power of Ms. Giordano's physique is something to behold.” —Philip Gardner, Oberon’s Grove

“Ms. Giordano is clearly a choreographer committed to constructing a personal dance vocabulary.” —The New York Times

“The evening started beautifully with Marie-Christine Giordano in silhouette as she began her solo entitled IN and OUT, a work-in-progress. Ms. Giordano is perhaps the best-established and most familiar name among the participants; her artistry and stage experience shone throughout this expressive solo.”
—Philip Gardner, Oberon's Grove

“Marie-Christine Giordano Dance followed with a duet performance (Untitled) featuring controlled movement that gave a strong air of anticipation. Arms constantly reaching, extended through the fingertips, the duo formed a picture of serene strength.”
—www.examiner.com

“The arresting figure of a platinum-blond, cropped-haired woman holding a strapless dress in front of her naked body boded well for the Marie-Christine Giordano Dance company’s Nurtured or Neutered, which opened at the Tribeca Performing Arts Center on Thursday night. As Marilyn Monroe’s languorous rendition of ‘She Acts Like a Woman Should’ wafted through the air, the woman—Ms. Giordano herself —gradually crumpled her body into a crouch, a quizzical expression on her fine-boned face.

" . . . Early on in the piece, two women roll over each other’s bodies, pushing off the floor to create angled shapes, entangling in ways that could be an amorous encounter or simply abstract. Later, to a jazzy soundtrack, Mr. Villanueva performs a leaping solo that exploits his supple leg extensions and nimble attack.” —The New York Times

“Miss Giordano’s intensity was admirable.”— The New York Times

“Marie-Christine Giordano’s Low Feed was an exploration of differing textures of dancing.” —The New York Times

“Dans un souci à la fois d’esthétique et de sincérité, Marie-Christine Giordano privilégie une qualité de mouvement, une fluidité totale qui impressionne et qu’on trouve chez les danseurs. . . . A la fois aériens et terriens.”
—La Liberté (Fribourg, Switzerland)

[Translation: “With special concern for both aesthetics and sincerity, Marie-Christine Giordano emphasizes a quality of movement, a total fluidity that is impressive and that we also find in the dancers.
. . . At once airborne and grounded.”]

“Elle offre l’essence dramatique d’un langage personnel qui, on l’espère, sera montré sur d’autres scènes de Suisse.”—La Liberté

[Translation: “She offers the dramatic essence of a personal language that we hope will be presented in other Swiss venues.”]

“Marie-Christine Giordano is attempting to explore the aspects of what it means to be a woman. Part of that identity is just in the name itself, setting one apart from those who are not Woman, a society to which one is inducted, without ever being told what any of it means. Three women play with various words applied to women, moving to them, throwing the words back and forth to each other, as they dress in each other’s clothes: Another part is the forms of what are expected of one, represented in this piece by a white tulle formal gown, suggesting a bridal gown, though one that slips down to reveal the breasts. Sometimes this is held in front of the very tall Ms. Giordano, striking with her white hair, whose naked body peeps from behind it as she carries out minimalist movement. Yet another part is sensuality, best realized by the one male member of the company, Roberto Villanueva, whether performing a solo or being cradled and seduced by Ms. Giordano, fully dressed in her gown, or attempting to take this external identity from her as she resists.” —Roberta Pikster, “Uniting the Intellect and the Body,” Arts Cure

"L'Artiste matérialisant les sensations, le public attentif vit les émotions et même, il inspire et expire avec les artistes. Magique! Une belle expérience dans un lieu historique."—La Lettre de Penthes, no. 20, Museum of the Swiss Abroad

[Translation: “As the artist makes material her emotions, a captivated public lives them, even breathing in and out with the performers. What magic! A beautiful experience in a historic venue.”]