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Ingrid Schatz & DeAnna Pellecchia in "Well" – photo by Liz Linder

"'Air & Water' continues Bennett's trend of pushing boundaries. With her penchant for collaborative invention, she has one of the most original choreographic voices in Boston."
– Karen Campbell, The Boston Globe.

"As they dance in and around the (well) the streaming water suggests cleansing, sustenance, baptism, oblivion."
– Karen Campbell, The Boston Globe, April 3, 2004.

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Top: Christine Bennett & Deanna Pellecchia in "Surfacing" – photo by Globe Staff, Dina Rudick

"The dancers' expressions are intense their repetitions are almost obsessive."
– Christine Temin,Boston Globe, January 11, 2004.

"'Surfacing' used a thin layer of water on the floor to brilliant effect..."
–  Theodore Bale, Boston Herald, January 18, 2004.

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Clockwise from top left: Andrea Blesso, Christine Bennett, Mary McCarthy, DeAnna Pellecchia in "The Net" – phot by Vital Albuquerque

"(The net) both enables and confines, alternately ensnaring them and allowing them the vehicle to become airborne, spinning, dipping, hovering. Time after time, they move away only to be drawn back, like flies lured to a spider's web."
– Karen Campbell, The Boston Globe, April 3, 2004

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Alissa Cardone in "Inner House" – photo by Vital Albuquerque

"There were some very striking images, especially of one woman hanging upside down, half in and out of the house, as if testing the air, then another standing on the roof as if about to fly, only to fall into the arms of those below with breathtaking abandon."
– Karen Campbell, The Boston Globe, March 3, 2001.

"Christine Bennett's Inner House begins with a great image. A woman sits, hugging her knees, on the sloping roof of a small tan building. By some trick of lighting (by Linda Taylor), the whole scene seems unreal. The windowless house is all out of scale with the foreshortened woman who's improbably perched on top of it. Gradually she unfolds her body and extends one leg out over the roof, as if she would walk down the air, which she somehow proceeds to do.
– Marcia B. Siegel, The Boston Phoenix, March 9, 2001.

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DeAnna Pellechia & Alissa Cardone in "Bound" – photo by Jody Pellecchia

"The piece follows the four women as they begin on stilts, become 'grounded' without them and then ascend again. ' It's not narrative,' Bennett says, 'but each character has development. It is an abstraction of the idea that four women go through some metamorphosis on our feet. It's analogous to childhood, then adolescence and then something completely different. 'What does that feel like?'"
– Mike Mayo, South End News preview article, April 6, 2000.

"In 'Bound,' choreographer Christine Bennett, with visual artist Beth Galston, has made a dark, evocative dance about control and freedom - and how people, in turn, manipulate and collaborate with one another to get each."

"Bennett is an original - something rare these days. Her instincts, as far as creating a whole world and evoking a mood, are impeccable."
– Thea Singer, the Boston Globe, April 7, 2000.

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"'Bridge' featured a striking performance by guest artist Leda Elliott, a Tai Chi and martial arts instructor who possesses a commanding stage presence."

"In (Bennett's) world, a dance is something powerfully defiant, a medium for either exploiting, or fighting against, the force of gravity."
– Theodore Bale, The Boston Herald, August 18, 2001.

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"here is an intriguing double-entendre in 'Moving Still,' …The 'stills' of Linder's black-and -white photography, projected as slides through three life-size frames, are all about movement. Mostly diffusely focused, featureless nude shots taken of the dancers themselves, they beautifully reduce the dancers' movements to near silhouettes of line and shape, distilling each to its essence. And Bennett's dancers (herself plus Ingrid Schatz and Bonnie Spillane in riveting performances) are 'still moving.'"

"Hanging upside down, their feet catching the top and sides of the frames for balance, they are a study in controlled tension. When the dancers face front, the piece takes on a completely different complexion as not only their bodies but their faces betray a sense of entrapment."
– Karen Campbell, the Boston Herald, September 14, 1998.

"…one dancer hoists herself off the ground and 'runs,' her peddling feet getting nowhere. The dance itself does go somewhere, but it's an ending not to be given away…'Moving Still' is not only clever, but occasionally moving emotionally, and worth an hour of your time."
– Christine Temin, the Boston Globe, September 11, 1998.

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