CHARLES MOULTON PRESS QUOTES
CHARLES MOULTON PERFORMED "FRED", A NEW SOLO FOR SUMMERFEST DANCE IN JULY 1999. "A tap
dancing solo culminating in a set-trashing finale. that was Charles Moulton's idea and it was one of the best....." Heather Wisner
"Genuine hilarity......As party pieces go, this one went splendidly" Allan Ulrich "......a delicious homage to Astaire"
Aimée Ts'ao
SF Weekly
July 15, 1999
San Francisco Examiner
July 10, 1999
Bay Area Reporter
July 15, 1999
CHARLES MOULTON CREATED "ANOTHER WAY" TO MUSIC BY ARTHUR RUSSELL ON THE OHIO BALLET IN
NOVEMBER 1994 "Mr. Moulton's way with structure is never dull. Another way has...fine ebullience" Anna Kisselgoff " The world premiere of 'Another Way', was a bull's eye of a success. What these performers communicated was the intense joy of letting their bodies speak." Elaine Guregian " Moulton's recurring movement motifs are skillfully woven into a contemporary tapestry that contrasts flat planes with fluid torso rotations and rapid
changes of direction. At times the movements seem to relate to bits and pieces of the poetic texts.... but the choreography stands on its own." Wilma Salisbury
The New York Times,
February 25, 1995
The Beacon Journal
Akron, Ohio November 6, 1994
The Plain Dealer
Cleveland, Ohio
November 12, 1994
CHARLES MOULTON SET HIS WORK "CHICKENS" ON MIKHAIL BARYSHNIKOV'S WHITE OAK PROJECT IN MAY 1995 "'Chickens' was a riotously silly and extremely clever ensemble work..." Karen Campbell "'Chickens' sent em out
with a smile.....The audience loved it. A great ending to a minimalist night...." Valerie Lawson
" 'Chickens' takes the audience into helpless mirth." Hilary Crampton " 'Chickens'......makes a delightfully zany conclusion to a
program of cool quality in dance and music...." Jill Sykes| Tara Werner "'Chickens'......to an hilarious text .. . is a
brilliant satire full of cackles and social comment." Ann Hunt Susan Mehalick
The Boston Herald
Boston, May 25 1995
The Australian Financial Review
May 31, 1996
Sydney Herald Sun
Sidney, Australia May 23, 1996
The Sydney Morning Herald
Sidney, Australia June 3, 1996
"Eat your heart out 'Swan Lake', these chickens and a
singular duck could upstage your cygnets any day."
The Nation
Adelaide, Australia June 27, 1996
The Dominion
Sidney, Australia July 8, 1996
" The humor dial was turned up a notch for 'Chickens' with choreography
by Charles Moulton and text by the brilliant monologist, David Cale."
Metroland
Saratoga, NY Aug. 22, 1996
CHARLES MOULTON WAS ONE OF THE FOUR CHOREOGRAPHERS WHO CONTRIBUTED TO THE JOFFREY BALLET'S "BILLBOARDS", MUSIC BY PRINCE "Mr. Moulton has created a harsh and
poetic solo for Elizabeth Parkinson, who gives an astonishing and intense performance as a clown who strikes out at the world and seems eventually to find peace." Anna Kisselgoff "Moulton's episode... leads to a passionately despairing and effective solo for a beautifully clown like Elizabeth Parkinson." Clive Barnes "Moulton's section, 'Thunder/Purple Rain,' is the most personal and unexpected." Alan M. Kriegsman
"'Thunder... brought the house down." Joanne Word "Moulton presented spells and seduction draped in the shadow of young gods coming of age
in 'Thunder.' It was an explosion of sex, athleticism and grace. In 'Purple Rain' Moulton exposed the pain and fear of a woman alone. It felt as if we, the audience, and she were stripped of all guards,
disguises and masks. We were left to witness the enormous power of raw emotion. It was wonderful" Michelle-Theresa Farceur
"Best of the lot, to these eyes, was Charles Moulton's "Thunder/Purple Rain"........ Scott Cantrell
The New York Times,
January 29, 1993
The New York Post,
January 30, 1993
The Washington Post,
June 7, 1993
Press-Citizen/Iowa,
January 28, 1993
The Daily Iowan,
January 29, 1993
The Kansas City Star,
Friday, January 28, 1994
CHARLES MOULTON'S WORK WAS PRESENTED ON THE SERIOUS FUN! FESTIVALS AT LINCOLN CENTER IN 1993, 1991, 1988, AND 1987 ("24 Person Precision Ball Passing") "It's a dance. It's a game. It's "24 Person Precision Ball Passing," Charles Moulton's contribution to Megadance at Lincoln Center's Serious Fun! Festival...(The work is) quick,
intricate, entertaining, suspenseful, graceful and witty." Janice Berman "Through Mr. Moulton's choreographic magic, a bizarre ball game turned into
an exultant ceremony." Jack Anderson "Those familiar with Mr. Moulton would have recognized his manic charm, which
shines through this piece in a pungently outlandish production with an art-rock band and a serious message." Anna Kisselgoff
("18 Person All-Star Ball Passing") "...I found this incarnation of Moulton's inspired and ongoing enterprise to be a work of spiritual beauty and considerable refreshment."
Nancy Vreeland Dalva "Clever, witty and totally original, Moulton's computerized configurations topped off the 'Megadance' evening in a dazzling triumph." Phyllis Goldman "The premiere (of "18 Person All-Star Ball Passing") was one of Mr. Moulton's variations on his witty mind-puzzler piece... The
new version is on a grand scale - more people, more jokes, and more complexity." Anna Kisselgoff
"...a fresh vaudeville image for out time." Anna Kisselgoff
Newsday,
July 1993
The New York Times, July 16, 1993
("Title Here")
The New York Times, Aug. 5, 1991
Dance Magazine,
December 1988
Backstage,
August 19, 1988
The New York Times,
Aug. 5, 1988
(New Suit)
The New York Times,
July 28, 1987
CHARLES MOULTON CREATED "CHICKENS" FOR THE TRISLER DANSCOMPANY JOYCE THEATER SEASON OF OCTOBER 1992
"The broadly comic movements made 'Chickens' a choreographic
cartoon. But this cartoon had a message. 'Be what you are.'" Jack Anderson
The New York Times
October 30, 1992
"Charles Moulton's parable 'Chickens' is blessed with a humorously insightful text, written and recorded with a twangy drawl by David Cale." Gus Solomons jr.
Dance Magazine
February 1993
"The entire concept of 'Chickens' is so original and entertaining that your head may be swimming by the conclusion." Jennie Schulman
Backstage
November 20, 1992
"'Chickens is a hilarious work...truly creative." Laurie Lawson
Punch In
November 3, 1992
"Charles Moulton's antic works turn up in the strangest places: the world premiere of his 'Chickens' sparks this season." (of the
Trisler Danscompany) Elizabeth Zimmer
Village Voice
November 3, 1992
CHARLES MOULTON CREATED "PANORAMAGRAM" FOR THE JOFFREY BALLET IN 1991
"Unquestionably, it was 'Panoramagram' that captured the audience's fancy Tuesday night. Setting up chorus-and-soloists
dialogue early on, Moulton cleverly bunched the 18 corps members on a grandstand and gave them finely detailed bits of business that sometimes resembled a football crowd and at others a sea anemone. It's rare that a ballet
can actually inspire guffaws - for the right reasons, mind you - but Moulton's certainly did just that." John Voland
The Hollywood Reporter,
May 9, 1991
" The barrier between dance and sports is impregnable philosophically, but in practical terms it sometimes is little more than an invisible shield. The two-sided coin shines with magic to spare in Charles
Moulton's eye-catching, crowd-pleasing 'Panoramagram.'" Sid Smith
Chicago Tribune,
April 18, 1991
" Moulton has created an
astounding 100 dances for his own and other companies since he left Merce Cunningham's company in 1976. His interest in precision movement juxtaposed with free form dancing provided the structural framework of his new
work 'Panoramagram'. The result is a funny and provocative work. Moulton's genius is in the myriad ways 'Panoramagram' can be interpreted." Laura Bleiberg
The Orange County Register
Los Angeles, May 9, 1991
"'Panoramagram' is (Moulton's) most entertaining variation on his special brand of Minimalism." Anna Kisselgoff
The New York Times,
March 7, 1991
CHARLES MOULTON WAS A RECIPIENT OF THE FIRST DOROTHY B. CHANDLER AWARD FOR THE PERFORMING ARTS IN 1989
"The Dorothy B. Chandler Performing Arts Award, which was initiated by Dorothy B. Chandler in honor of the 25th anniversary (of the Music Center), was
awarded to three outstanding young artists representing the best in the fields of music, theater and dance. This years award winners were Midori, renowned violinist; Julie Taymor, critically-acclaimed writer, director
and designer of sets, costumes, puppets and masks; and choreographer Charles Moulton, a leader in the post-modern dance movement. Award recipients were selected on the basis of their current body of work, as well as
their potential for contributing significantly to their field." Performing Arts Magazine
November 10, 1989
EXCERPTS FROM REVIEWS FROM 1980 TO 1990 (NYC PERFORMANCES)
("Dangerous Glee Club," February 1989 at St. Clement's, NYC)
"In it's own smart, off-kilter - dare I say it? - post - modern way, the material is as slim as the boy-meets-girl, boy-looses-girl, boy-gets-girl plots of old time musicals. But it's
vastly less predictable, and there's a bright black edge to the humor. It's also entrancingly produced. The performers are all vivid and appealing, but Moulton outdoes himself - singing, talking, playing the
harmonica, howling and punching a keyboard, and climaxing the show with a virtuosic tap dance that starts as a ferocious beat under his speaking and finishes as a tornado." Deborah Jowitt
Village Voice,
Feb. 28, 1989
"It combines baroque complexity with latter-day edgy wildness, and it works." Drew Fetherston
Newsday,
Feb, 20, 1989
"'Dangerous Glee Club' was fun." Jennifer Dunning
The New York Times,
Feb. 23, 1989
(Charles Moulton Dance Company at the Joyce Theater)
"Everything the Charles Moulton Dance
Company did Sunday night at the Joyce theater was absolutely ridiculous and lots of fun. Mr. Moulton's dances were merry manias." Jack Anderson
The New York Times,
May 19, 1988
"Charles Moulton (is a) choreographic jester...(He) made audiences think as well as laugh." Jack Anderson
The New York Times,
Sept. 4, 1988
"A virtuoso in his own right is Charles Moulton, the experimental choreographer. In his 'Tapnology,' Mr. Moulton performed a
remarkable solo, creating rhythmic sound simultaneously while tap dancing, snapping a book open and shut and activating other sound by wires attached to his body. The dancing itself was a tour de force, intense and
precise." Anna Kisselgoff
The New York Times,
Dec. 27, 1987
(Moulton's "Luminaire" on Alive From Off Center," Channel 31/TV)
"Fascinating...collaboration created by video artists John Sanborn and
Dean Winkler and the choreographer Charles Moulton." Jack Anderson
The New York Times,
June 30, 1986
(Charles Moulton Dance Company at P.S.122)
"Charles Moulton is something of an adventurer - making intrepid ... choreographic voyages, yet never
straying too far from home when it where crisp rhythms and tidy designs are the order of the day." Deborah Jowitt
Village Voice,
April 2, 1985
(Moulton's "Nine Person Precision Ball Passing" was performed by the Lar Lubovitch Dance Company at City Center)
"...elegant
impudence...the piece takes on the look of a commentary on the sort of minimalist dance popular in recent years, in which the performers wound their brisk way through choreography that had the complexity of mathematical
operations." Jennifer Dunning
The New York Times,
Feb. 6, 1984
(Charles Moulton Dance Company at DTW)
" I like it when choreographers try something a little different, risk floundering. Take Charles Moulton's "Variety Show". Unexpected. Hell, the whole thing's
fun." Deborah Jowitt
Village Voice,
March 20, 1984
"...driving athletics performed with sunny resilient ease." Jennifer Dunning
The New York Times,
March 4, 1984
(Charles Moulton Dance Company at St. Mark's Church)
"...I think Moulton is truly original." Deborah Jowitt
Village Voice,
April 19, 1983
"Among the most vibrant choreographers enriching the dance scene today." Abigail Kuflik
Newsweek,
April 18, 1983
"...fun, lively and sexy." Amanda Smith
Dance Magazine,
July 1983
(Charles Moulton Dance Company at DTW)
" There's a good deal of new-generation modern dance these days that leaves one exhilarated with it's sheer physicality. Very seldom, however, does that go
along with wit, a developed choreographic perspective, elegance, humanity and just plain good dancing. But it happened on Wednesday at the Bessie Schonberg Theater, where the Charles Moulton Dance Company performs through
January 31. If you see only one dance concert this year, as the saying goes, see this." Jennifer Dunning
The New York Times,
Jan.23, 1982
" Moulton is extravagant, smart and disciplined. He is a performer who always seems too big for the confines of the stage. Even now his choreography is skilled and he is still young, yet to hit his full
choreographic stride." Sally Sommer
Dance Magazine,
June 1982
"Moulton has skillfully created in his choreography the
illusion of people who are ready for anything and fazed by nothing." Deborah Jowitt
Village Voice,
January 27, 1982
(Charles Moulton Dance Company at The Kitchen)
"Moulton moves with the physicality and spaciousness of an athlete, and with a precise sense of
gradation in his contacts with the ground...He must get some of his rhythmic flexibility from Merce Cunningham, with whom he danced for a few years, but the relaxed, unplaced look of the movement, the ease of the way the trio works
together is very un-Cunninhamlike." Marcia B. Siegal
The Soho News,
Feb. 27, 1980
"I remember when Charles Moulton was
with Merce Cunningham (1973-1976), how full his dancing was, communicating without apparent effort or design the sheer pleasure of dancing. His recent concert at the Kitchen...conveyed the same sense of delight and
accomplishment." Burt Supree
Village Voice,
March 31, 1980
Charles Moulton
3830 Lakeshore Avenue
Oakland, CA 94610
(510) 251-1169
charlesmoulton@hotmail.com
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