“You think equally of nature and art: Georgia O’Keeffe’s flower paintings, the luminous trajectories of jelly fish, George Balanchine’s ‘Vienna Waltzes,’ a chrysalis morphing rapidly into a butterfly.” –Claudia La Rocco, The New York Times
“a choreographer whose integrity is clear from the first moments her dancers take the stage.”–Natalie Axton, Hyperallergic
“yields uncommon, unexpected pleasure” –The New Yorker
“it was perfect” –John Rockwell, The New York Times
“dazzling . . . airy and elemental” –Donald Hutera, The Times
“mesmerising, spectacular display of dance . . . one of the most hypnotically beautiful works on the Fringe” –Julie Dawson, Edinburgh Spotlight
“elegantly dramatic . . . entrancing and beautiful” –Gareth K. Vile, The Skinny
“Sperling’s magical Fuller-inspired pieces do have the look of natural phenomena—blossoming, evolving, changing shape.” –Deborah Jowitt, The Village Voice
“David Ferri’s stunning lighting–in 44 colors–transformed [Sperling] into a bird, an orchid and a slowly burning candle.” –Gia Kourlas, The New York Times
“Holding their breath, mesmerized spectators followed each of the metamorphoses of the dance-fairy, who created an illusion of wings unfolding from her back. One of the spectators admitted: ‘Even before the conclusion of the dance, I wanted to see it again and again.’” –The Golden Ring (Russia)
“utterly beguiling. As the material catches the coloured lights, the wings transform from flowers to a rippling pool to a tornado or whatever our imagination wants it to be.” –Kelly Apter, The Scotsman
“Sperling’s expansive musicality and expert manipulation of her enormous costume were perfectly analogous to the solution today’s technological sophisticates are still searching for—not just a merger of dancing and media but a transfiguration of both.” –Marcia Siegel, The Boston Phoenix
“[Sperling] puts together shows for her ensemble, Time Lapse Dance, that combine glitter and moonlight, flirtation and contortion.” –Elizabeth Zimmer, Gay City News
“Sperling travels with her own personal cloud, which floats around her as she dances . . . [She] surrounds herself with rippling waves and creates a variety of images derived from nature.” –Robert Johnson, The Star-Ledger
“[Sperling] unfurled her folds of fabric in spell-binding snippets . . . Her graceful, but simple manipulation of the silk, which spiraled, rose and descended around her, created optical illusions that were astonishing.” –Wendy Liberatore, The Daily Gazette
“masterful work of resplendent yet restrained evocation of the supernatural.” —Philip W. Sandstrom, Dance Insider
“Sperling’s use of fabric is mesmerizing, her layering of modern and past dance techniques is innovative, and she dances with remarkable grace and precision.” –Talia Bloch, Aufbau
“enchanting . . . Beneath a black light, [Sperling] manifested orchid-like floral shapes or else revolved quickly in circles like the eye of a storm.” –Aeron Kopriva, The New York Sun
“Jody Sperling made dance an art of transformation . . . Encased in a silken costume that shimmered in David Ferri’s lighting, Ms. Sperling summoned up spirits of earth, water, wind, fire and ether by manipulating the fabric so its folds swirled, billowed and soared in delightful metamorphoses.” –Jack Anderson, The New York Times
“witty, entertaining and thought-provoking” –Michael Crabb, National Post
“utterly seductive sense of humor. . . choreographically terse avoiding excess without sacrificing impact. . . .very funny—and totally uncorny.” –Gus Solomons Jr, The Village Voice
“the audience oohs and ahs as time really does seem to wrinkle . . . as beguiling today as it must have been in Fuller’s era.” –Sandra Aberkalns, Dance Insider
