“I was gently but powerfully drawn into what seemed in the end a heroic creative act.”

“More compelling is “Signature,” …The dance, framed by low-hung beams of light, is the kind you get lost in. What remains: a gorgeous image of two pairs of dancers whirling, as if figures dangling from a string; a flurry of windmilling arms; an intriguing study of how two dancers can perform the same moves and yet seem utterly different; and a desire to see more of Suddarth’s work — soon.”

“Suddarth’s Signature set a dark tone…[He] shows promise as a choreographer interested in investigating ballet vocabulary, especially in the realm of partnering. Overall, Signature is a very physical piece whose choreography reached through the body and traveled the stage, but moments of stillness and smaller movements provided a welcome balance...Suddarth’s approach, for this piece anyway, more explicitly explored the shifting relationships between dancers. The fifteen person cast felt connected as one organism.”

“He has embraced the current normal and created an entirely fresh way for balletomanes the world over to be a virtual audience. Bravo!”

“People were blown away. For such a young choreographer to craft such a powerful work is a rare and exciting thing. In contrast to the fragile, pink-swathed ballerina stereotype, the women in this piece were fierce—clad in navy blue leotards and pointe shoes with no tights that showed off their toned legs—and highlighted the strength and athleticism of ballet. The men were impressive as well, but the women really stood out. Powerful kicks, perfectly synchronized ensemble work, skilled technical executions and creative lifts added up to some of the most passionate dance I’ve seen this year.”

“modern yet willing to meet tradition halfway. There is a definite flow to Mr. Suddarth’s work, so much that even when the music doesn’t move melodiously the dancers do - and still it works. The final pas de deux is particularly satisfying.”