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“I work at maintaining a very innovative approach to movement. There’s a value set on human expression. You see the whole person – spirit, humor and vulnerability.” [says] Andrea Miller

–  Suzanne Chessler, Detroit Jewish News, March 2014

“I use the whole body as a tool of expression — the face, the fingertips, the chin… just anything that can be used, so the movement doesn’t end up becoming recognizable lines that you normally see in dance. I also use a lot of humor, too, a combination of humor and sometimes tragedy, but mostly humor.” [says] Andrea Miller

–  Michael Summers, Fort Wayne Reader, March 2014

“Andrea Miller’s choreography challenges the dancers to explore different ways to move and allows audiences to expand their vision of what dance can be.” [says] Fort Wayne Dance Collective artistic director Liz Monnier

– Ashley Motia, Whatzup, March 10, 2014

“I think that the whole piece is really about perception, how we perceive and how sometimes two people can be looking at the same thing and they each perceive something totally different” [says] Dancers’ Workshop artistic director Babs Case

– Emma Breysse, Jackson Hole News & Guide, February 5, 2014

“Have you ever thought of a cardboard box and how you would describe it? Andrea Miller did, and the more she thought about the box, the more interesting it became. Its weight is unknown until it’s lifted, the contents inside a mystery. It can crumble and collapse.”

– Kelsey Dayton, Planet Jackson Hole, February 4, 2014

“Andrea has a really distinct choreographic voice and vision,” says World Music/CRASHarts executive director Maure Aronson. “There are very few choreographers creating the type of work that she does, and her incredibly gifted dancers always perform with absolute fervor and commitment.”

– Karen Campbell, The Boston Globe, January 30, 2014

Fold Here by Gallim Dance was an energizing and playful piece that effortlessly merged broad physical comedy and modern dance to create movement that was original, unique, and hilarious.”

– Tami Shaloum, Stagebuddy.com, January 13, 2014

“Miller creates works that are simultaneously kinetic and intimate expressions of the self and its dialogue with identity, sensuality, and search for meaning.”

– EDGE Network, January 7, 2014

“The troupe’s artistic director and Sniffen met and “just found a tremendous amount of common ground about their vision for what a dance company in permanent residence could provide for the community above and beyond what is happening in that space”

– Sharon Sheridan, ENS, December 18, 2013

“The overall most wonderful aspect of the piece, and the company, is the emotional commitment to every single detail in the hour long dance. Each dancer interacts so genuinely and uniquely with each other that they transcend choreography to an actual poetic dance experience.”

– Chase Johnsey, Ballerina Guru, December 5, 2013

“Again and again the performers, here from New York, were drawn back onto the stage by the clapping.”

– Nora Abdel Rahman, Mannheimer Morgen, December 3, 2013

“Wonderland is a thrilling piece of dance. Its brilliant technique is dazzling ”

– Heike Marx, Rheinpfalz, December 2, 2013 

“The modern company already has the financial stability and artistic reputation more common to large, established dance troupes.”

– Rebecca Milzoff, Departures Magazine, Nov-Dec 2013

“Miller and her dancers show what is possible when humans push themselves to an emotional and kinetic brink. They dare to be brave and we all watch with wonder.”

– Caroline Palmer, Star Tribune, October 13, 2013

“Miller has been innovating her own rigorous movement vocabulary that’s explosive, seductive, and smart.”

– Camille LeFervre, City Pages, October 8,2013

“The effect of Fold Here is unsettling. I feel I’ve been entertained, disturbed, confused, made to think. The performers are marvels … Miller has created an adult playground that, no matter how much you re-arrange its equipment, fences you in”

– Deborah Jowitt, Arts Journal, October 1,2013

“A lot of what this piece is about is describing what a box is,” said Miller, “and the goal is to get the magic of what we eventually understand about these boxes and what it reveals about what is contained inside us.”

– NJ Public Television / PBS, September 27, 2013

“Making work has always consumed me in the best of ways. It takes me to really exciting places in my mind and with the dancers. And I’ve had to split that attention.”

– David Clarke, Montclair Times, September 26, 2013

Raymond Carver’s short story Cathedral “opened up questions that I feel when I’m making work: Can you tell what something is? How do you learn about what it is? How has the artist chosen to communicate what it is?”

– Susan Reiter, The New York Times, September 25, 2013

“Try cadging a ride to see Andrea Miller’s Fold Here, inspired by a Raymond Carver short story and danced on a stage eerily full of cardboard boxes. Her viscerally physical movement wrings every inch of life from her dancers-and you’ll be holding your breath, too.”

– New York Magazine, September 25, 2013

“Words cannot explain what they do. Their work doesn’t fit into a category. It has a primal kind of feeling. Powerful and very human.”

– Christopher Duggan, Christopher Duggan Photography, September 25, 2013

“Miller has high expectations for choreography, especially her own. It isn’t enough, she feels, for a dance to be beautiful. Dances should be revolutionary.”

– Robert Johnson, Star Ledger, September 24, 2013

“Miller is known for creating work that blends wild-child dynamism with quiet emotional resonance. Expect both in full force in Fold Here, the most complex piece to date for her six-year-old company, Gallim Dance.”

– VOGUE, September 6, 2013

“With the deceptively calm title Fold Here, the wildly unpredictable Gallim Dance makes its debut at Peak Performances in Montclair, NJ, led by queen of quirk Andrea Miller.”

– Dance Magazine, September 2013

“Ms. Miller is one of a handful of rising-star choreographers who, dance experts say, are shaping this generation of the art form while trying to provide a more stable environment for the community at large.”

–  Miriam Kreinin Souccar, Crain’s New York Business, July 21, 2013

“I was very, very moved by Andrea’s work and her thought process and the way she integrates her dancers into the work and the way they are a part of the process. I just strongly connected with them. Says Babs Case, Artistic Director of Dancers’ Workshop.”

– Kelsey Dayton, JH Weekly, June 18, 2013

“Her excellent dancers fly, crawl, hover, and hang together. They split jump, hurtle themselves into the arms of each other, and hold a pose, all with abandon, yet precision… BLUSH feels flush with craft, design, and invention.”

– Deirdre Towers, DancEnthusiast, June 10, 2013

“Like all of Miller’s dances, Fold Here is physically dramatic, mining the deep emotional and theatrical resources of her riveting dancers.”

– BWWDanceWorld, June 7, 2013

“Tender and violent, supportive and hostile, fragile and strong, Blush is a reverent ode to the humanity that unfolds between these extremes.”

– Meghan Feeks, Dance Pulp, May 27, 2013

“All of Ms Miller’s dancers are superbly talented technicians.”

– Rachel Rizzuto, Bachtrack, May 29, 2013

“On some level, Blush is unfathomable. On another it’s as dangerously, sensuously present as a touch on your own flesh.”

– Deborah Jowitt, Arts Journal, May 26, 2013

“Her dances are compelling and strange, full of stomps and contortions.”

– The New Yorker, May 19, 2013

“[Miller] takes a moment to revisit one of her early pieces and whatever changes she’s made, her prowling, contorted physical language will no doubt be there, reminding us how tough and resilient the human body can be.”

– The New York Times, May 16, 2013

“[BLUSH] is a thrilling, intense journey – one you’ll be glad you experienced.”

– Evan Namerow, Dancing Perfectly Free, May 12, 2013

“Now, let’s move on to the real reason we get excited about Northrop’s seasons – the work that can change your life: Gallim Dance, for its brooding or goofy or diffident pulse-rousing, dizzyingly kinetic, kick-ass sensuality.”

– Camille LeFevre, MNartists.org, May 1, 2013

“Andrea Miller has developed a reputation as a wild child, choreographically speaking: Her company, Gallim Dance, known for its zany, expansive movement, has wonderfully idiosyncratic dancers.”

– Dance Teacher Magazine, April 26 2013

“Being able to turn on a dime, to peddle smoothly from manic bursts to poetic languidness, is demanded of Gallim dancers.”

– Sharma Howard, The Hartford Courant, February 3, 2013

“Gallim Dancer Jonathan Royse Windham is featured in Dance Magazine’s 25 to Watch in 2013″

– Dance Magazine, January 2013

“Miller’s unusual movement vocabulary [reveals] the beauty that lies in the unusual.”

– Bregtje Schudel, Het Parool, Nov 2012

“Perhaps there is a model for the future [of ballet] in Gallim Dance”

– Lauren Warnecke, Huffington Post, October 2012

Miller “crafts eye-catching, original movement that vaguely suggests everything from ballet to punk alienation, while often engineering startling constructs and sequences all her own.”

– Sid Smith, Chicago Tribune, October 2012

“Gallim Dance brought the goods last night… but it wasn’t simply the fact that Miller’s work is a suspenseful evolution of highs, lows, peaks and valleys; it was also that the dancers look like they’re having a blast dancing it.”

– Matthew de la Peña, Time Out Chicago, October 2012

Miller is “one of those young choreographers you want to keep in your sights. Her ideas are intriguing, and her movement style lusty, daring”

– Deborah Jowitt, Village Voice, May 2012

“Miller has somehow captured what it’s like to be young and alive and free, and the feeling will stay with you for days.”

– Janet Smith, Straight.com, March 2012

“Lush, fierce dancing punctuated with thrilling bouts of kinetic wit characterized Gallim Dance’s performance”

– Nancy Wozny, Arts + Culture Magazine Houston, March 2012

“It’s a roller coaster of a piece – an experience of controlled loss-of-control aimed at cracking apart our presumptions of what makes us tick. [...] ‘Blush’ exposes the sadistic underbelly of love as jauntily as the giddiness of community.”

– Thea Singer, Globe Correspondent, October 2011

“Sexy, reckless and edgy as hell, this performance [is] exciting as high art can get.”

– Laura Hutson, Nashville Scene, October 2011

“Everywhere you look, there’s a collision that unhinges the nerves, breakneck partnering that wracks the heart. Andrea Miller’s hot dance shows off all these dancers have got — and they’ve got plenty that’ll get you.”

– Lightsey Darst, MNartists, December 2010

“Miller’s work is wrenching and moving and even though you might need a period of recovery afterwards, you’ll find that her works beckon for repeated viewings.”

– Tim Martin, Dance Europe, October 2010

“Miller seems to love creating images of fierce abandon and ungainliness within order, and to make us both laugh and sympathize with the dogged, stumblebum performers—all the while relishing them as the virtuosos that they are.”

– Deborah Jowitt, Village Voice, October 2010

“Throughout, they show a through-the-body commitment — verging on wildness — that adds a certain visceral excitement to this multilayered production. What is most memorable is the dancers’ fervor and undeviating commitment, especially in the most bizarre passages: which makes Wonderland both stirring and chilling.”

– Alastair Macaulay, The New York Times, August 2010

“They make no bones about jumping about the stage like a crew of crazies, but it’s the individuality of each dancer that keeps you glued to every leap, kick, and lunge around the stage….[Miller's] dancers just might explode if they push and reach any further. Take your eyes off the stage for one second, and you will miss something.”

– Gervase Caycedo, Charleston City Paper, May 2010

“The six dancers are excellent, the movement is inventive and Ms. Miller’s way of weaving groups together and teasing them into smaller units is often impressive.”

– Roslyn Sulcas, The New York Times, January 2009

“It seizes your attention and dares you not to get caught up in its delicious strangeness, fierce aggression and raw beauty.”

– Susan Reiter, New York Press, July 2009

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