dietz marchant performance projects


“…a beautifully soft piece…”
Quinn Batson, OffOffOff.com (Dietz Marchant’s Inflatable Man, Evaporating Woman)

“…beautifully musical partnering…”
Laurie Ortiz, Gay City News (Dietz Marchant’s Inflatable Man, Evaporating Woman)

“It was in the daring leaps and catches that risk-taking and faith in another rang true.”
Madeleine L. Dale, Attitude: The Dancers’ Magazine 2007 (Dietz Marchant’s Inflatable Man, Evaporating Woman)

“…an exciting showcase of powerful female choreographers including Lindsey Dietz Marchant…”
GO NYC (Dietz Marchant’s Any Given Day)

“…I was rewarded with neatly-made well-danced depictions of couples getting along, staying together, or breaking off….
emotionally extravagant and theatrically witty… “
Jack Anderson, New York Theatre Wise (Dietz Marchant’s Any Given Day)

“…Jason Dietz Marchant and Lindsey Dietz Marchant laying down
exacting, exquisite performances that hold back neither body nor soul… “ 
Eva Yaa Asantewaa, Gay City News, NYC (Performers in Kate Weare’s Wet Road)

“…glorious…”  John Rockwell, New York Times (Performers in Kate Weare’s Wet Road)

"Watch, especially, for ... the way that Dietz Marchant always appears to be suspended in dark space,
even when there's light all around her, straining against balance, active and complex within her waiting."
Eva Yaa Assanteewa, Infinite Body, NYC (Lindsey's performance in PALISSIMO's Weddings and Beheadings)

“…heartbreakingly open…pierces the heart in a hundred places…”
Chris Dohse, The Dance Insider (Lindsey’s performance in Monica Bill Barnes, When We Were Pretty)

“a sensual solo… We are privileged to experience some of the best performances,
by some of the best performers that downtown modern dance has to offer…” 
Phillip Sandstrom, The Dance Insider (Lindsey’s performance in Tami Stronach’s
The Maid and the Marmalade and Contain Yourself Darling)

“…slow and fluid movements, and original and personal partnering.  What made the pieces work were the dancers,
whose movements seemed so natural and beautiful. In both pieces, the emphasis is on the woman,
and Lindsey Dietz Marchant is terrific.” 
Bryan Rourke, The Providence Journal (Lindsey and Jason’s Performance in Tami Stronach’s
The Maid and The Marmalade and Pinchas, the Fish People, and the Great Flood)

“… [He’s] a dancer to watch… with John Lennon looks and sensibilities… absolutely brilliant, thrilling passages
of graceful yet virile interactions of trust and emotional exchange communicated by athletic lifts
that were sudden, smashingly powerful bursts of vigor…”
Madeleine Dale, Attitude Magazine (Jason’s performance in Isabel Gotzkowsky’s Inside/Out)

“…set in motion by the magical agency of her dancers [Lindsey and Jason]… Best of all, Lindsey Dietz Marchant and Jason Dietz Marchant—duettists in life as well as dance—twisted and slipped all over each other like rapids rushing over rocks.” 
Eva Yaa Astenwaa, Gay City News, NYC (Performers in Tami Stronach’s Pinchas, the Fish People and the Great Flood)

“…first class acting and moving…”
Jennifer Dunning, The New York Times (Jason’s performance in Dean Moss’s Supplement)

“…a dance of whirling falls by [Lindsey Dietz] Marchant…”
Deborah Jowitt, Village Voice (Lindsey’s performance in Tami Stronach’s The Maid and The Marmalade)

“In this duet for one, …[Lindsey Dietz Marchant] dances – raptly, beautifully…”
Deborah Jowitt, Village Voice (Lindsey’s performance in Janis Brenner’s Lake)

“Lindsey Dietz Marchant… twisted about like climbing vines…”
Jack Anderson, New York Times (Lindsey’s performance in Hilary Eastin’s Frost Palace)

“Lindsey Dietz is a fine dancer who moves with finesse…”
Elias Stimac, Backstage (Lindsey’s performance in Strike Anywhere’s Finding One)

“…Lindsey proceeded to spool out an aria of varied, opulent, and ecstatic movement…”
Eva Yaa Astenwaa Gay City News, NYC (Lindsey’s performance in Janis Brenner’s Lake)

jason lindsey