“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
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
With the Colorado Ballet previewing three movements of a new work, titled “Archetypes” . . . LeCrone is trying to bring a new, contemporary look to ballet, but she is doing it not by trying to subvert the form or overlaying it with gimmicks. Instead, she has developed a fresh, clean style that maintains the essence of the centuries-old form but strips away some of its accumulated ornamentation and formality. With 18 dancers — 10 women and eight men, this is by far the largest work she has done, but she seemed completely at home with these augmented forces, deploying them in diverse, unfailingly engaging ways.
– Kyle MacMillan, The Denver Post
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.
– Claudia LaRocco, The New York Times
Of the six choreographers presented by Ballet Builders on Saturday night at Kaye Playhouse, Emery LeCrone was the only one to make something fresh of that idiom. Her new “Pulling to Break,” set to Philip Glass’s Violin Concerto No. 1 . . . is already a delightful whole, exploring inventive partnering as well as the ways spinning, full-throttle movement can echo and incorporate the planes of the space around it. Ms. LeCrone’s subtle use of strong lighting effects by Ted Sullivan was impressively savvy.
– Jennifer Dunning, The New York Times
The young and prolific Emery LeCrone, Miro Magloire’s choreographer-in-residence, is getting more attention by the minute. Her often sombre explorations of off-kilter movement show a vivid intelligence.
– The New Yorker