Patterson has a voice, that ever-elusive thing, and whatever the future of ballet may be, choreographers like her will always have a place in it.
"Quietly Walking, by Gina Patterson was a polished balletic masterpiece. Unlike the other works of the night, which seemed to need a little more time to reach their full potential, Quietly Walking had indeed arrived. It was a complete work, refined from start to finish."
Dance Informa Magazine
“The most thought-provoking images…. As many do, but few so well, Patterson blended off-center modern movements and classical ballet technique with quirky yet fluid arm gestures and angular extensions.”
I got a strong jolt of engaging creativity that took me by surprise and made me want more.
““You Are Here” is the surprise of the program, though. At first, it seems it may be a rambling, aimless piece. But quickly, Patterson, artistic director of Austin’s VOICE Dance Company, kicks the work into a higher emotional gear. Forceful and swirling, it is as if she has somehow harnessed breath itself; gasping, panting, sighing. It is an endless series of surprises.”
Breathless. That would be an apt description of Gina Patterson's "Silence."
A Pas de Deux of startling originality was seen in choreographer Gina patterson's Speak￼ which Ms. Patterson performed with Eric Midgley. In contemporary form, it depicts a familiar theme- desire alternating with alienation- but in startling patterns that were deeply incisive. The emotional current that ran through the work was apparent, yet never overstated.
“A standout on the soulful front, Insideout by Ballet Austin’s Gina Patterson, revealed feeling and choreographic invention from expectant contemplation to hearty interpersonal commitment, in a candle-graced duet for her and Chris Hannon.”
“Insideout...was a sizzling and savvy duet for two modern-day gypsies.”
Ney York Times
Fresh and energetic, Life Wind offered non-stop innovative movement
Austin American Statesman
"Patterson's signature humor – not just jokes made by dancers but dancing jokes made possible by the trained and expressive bodies – graced this piece."
“The dances were skillfully and unpredictably linked together, creating a sense of drama and community.”
Inspired by the life cycle and mating habits of birds, the piece was a kind of "March of the Peacocks," beginning with a dozen dancers hidden behind gigantic white balloons, from which they popped up, hatchlinglike, and proceeded to explore the world. As the dance progressed, these bird figures appeared to mature and pair up for mating. But as those cinematic penguins showed, life as a bird isn't without hardships and pain, and on occasion a dancer stepped apart from the brood for what seemed a melancholy walk beside a sort of peacock queen mother (a visibly pregnant but unassailably regal Margot Brown). These tensions gave the piece, playful as it was, a richer emotional texture, a sense of life with both joys and sorrows, often intertwined. It's the perspective of someone who has lived enough to know that mix of sunshine and rain, and Patterson pushed herself to layer that into her piece.
"the standout...abstractly clean yet full choreography”
Austin American Statesman
“daring, interwoven symmetry.” “rapturous quality”