Emery LeCrone began her career as a choreographer after she moved to NYC. She began freelancing and has since begun to make her mark in across the country. Directors of prominent dance companies, dance institutions and foundations across the country, as well as major critics, have recognized her work.
In her structured group work and inventive partnering, she incorporates improvisation and distorts the classical vocabulary to dramatic effect…Considering her age, though, the most striking aspect of Ms. LeCrone’s choreography is its depth…Bright, creative newcomers like Ms. LeCrone are refreshing in every art form, but especially in classical ballet.
– Elaine Stuart, The Wall Street Journal
“Chamber Dances” generated real excitement from its engagement with its score, its propulsive energy and its structural complexity . . . Ms. LeCrone, often responding to both pulse and melody in the music at the same time, creates spatially multidimensional works that make her dancers look galvanized both above and below the waist. She has a sense of gesture and a feeling for footwork When the music’s first and second movements end, Ms. LeCrone has built up enough dance momentum to continue the choreography through a few seconds of silence, arriving finally ready to start the next section . . . it’s a tribute to her skill that you can imagine her giving you more.
– Alastair Macaulay, The New York Times
Her “Aphorismos” is a ready-for-primetime knockout, including sophisticated costumes and lighting, and an original, electronic score by Jonathan Melville Pratt. . . Better yet, she has ideas about gender dynamics and power structures and how, in 2009, she might use ballet, and her own artistic voice, to address them . . . More please Ms. LeCrone. Someone give this woman a residency.
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