01/30/2015  |  David Robinson, Examiner – Review
Austin Again Welcomes the Bowie Project


01/30/2015  |  Jonelle Seitz, Austin Chronicle – Preview
Sound painting Bowie: In The Bowie Project 2, everyone is Bowie, and nothing stays the same


01/28/2015  |  TWC News Austin
Arts and Entertainment for Jan. 28


01/24/2015  |
Arts picks: Jan. 25-31


12/15/2014  |  Broadway World – Preview
Andrea Ariel Dance Theatre to Present THE BOWIE PROJECT 2  


09/30/2014 |
Creative Ambassador: Andrea Ariel


02/07/2014  |  Jonelle Seitz, Austin Chronicle – Review
The Bowie Project: A Rock & Roll Soundpainting 
This music/dance/theatre collaboration wove together David Bowie’s work with his life and the lives of others


02/07/14 | Shelley Seale, Austin Culture Map – Review
Soundpainting Austin: David Bowie, dance and improv combine for unpredictable theatrical experience


02/05/2014  |  Jeff Davis, Broadway World – Review
Bowie Project is a Dance Oddity


02/02/2014  |  David Robinson, Examiner – Review
Andrea Ariel Dance Theatre Pays Homage to David Bowie


01/31/2014 | Robert Faires, Austin Chronicle – Preview
The Bowie Project: A Rock & Roll Soundpainting Ziggy Stardust and the Thin White Duke serve as inspirations for Andrea Ariel Dance Theatre’s new dance-and-music collaboration


01/31/2014 | Texas Monthly
Six Must-Attend Events: January 31–February 8, 2014


01/30/2014 | The New York Times – Michael Hoinski
Texas Edition Picks!


01/28/2104 | Kritika Pramod Kulshrestha, The Daily Texan – Preview
Dancer brings soundpainting, mixed media performance to Austin


11/5/2013 | Shelley Seale, Austin Culture Map – Preview
Glamorous rock & roll lawn party at Travis Heights mansion kicks off Andrea Ariel Dance Theatre season


10/4/2013 | Austin Chronicle


09/30/2013 |
Review: Ariel Dance Theatre’s ‘Heart’


09/27/2013 | Austin Culture Map
Austin choreographer Andrea Ariel takes dance to Heart


09/29/2012  |  Broadway World
Dance Show GEOMETRY OF PROXIMITY Doesn’t Miss a Step


05/20/2011  |  Barry Pineo, Austin Chronicle
The Grand Theory of Everything Between


 Press Quotes  


“The billing hardly describes the quality and untamed artistry of the Bowie Project. Its art—music, dance, drama, visual art—in combination verges on the unique, that fleeting quality most artists never attain. Its spectacular staging is exceeded by Cirque du Soleil and very few other indoor shows of any type this side of Las Vegas.”


“Every performer one sees on that stage is some refraction of Bowie. Perhaps only a deconstructing, improvisational performance such as The Bowie Project 2 could illuminate David Bowie so sharply.”


“The Bowie Project 2 is also a form of highly abstracted musical theatre, a delight to music lovers.”


“The ensemble truly formed a whole. Trained improvisational performers deal with two contradictory things. They must develop great artistic discipline—skill—in order to put the work on stage, first; and, once there, they must engage the edge of their art to find anything original, something not seen before. All the performers in The Bowie Project 2 have the skill and the commitment.” — David Robinson, Austin Theater Examiner


“Andrea Ariel Dance Theatre has taken the best of improv in dance, music, and theatre and thrown them all together in The Bowie Project: A Rock & Roll Soundpainting. This show will make believers, if not lovers, of almost everyone who gets a chance to see it.” — David Robinson, Austin Theater Examiner  


“Forms of improvisation live and evolve in many fields of the performing arts and music. Andrea Ariel Dance Theatre has taken the best of improv in dance, music, and theatre and thrown them all together in The Bowie Project: A Rock & Roll Soundpainting. And while improvisation in all those forms is not universally admired by people who enjoy the performing arts, this show will make believers, if not lovers, of almost everyone who gets a chance to see it.”


“This production was almost impeccable in every way one could imagine. Producer Andrea Ariel took full advantage of rock’s vibrancy and power. The excitement level was sustained throughout the show’s 70 minutes, with very brief pauses for the audience to catch its breath. The performers didn’t seem to need to catch their breath. The entire ensemble exuded talent and All-America training.”


“The Bowie Project suffered only from a disappointingly short run at Stateside at the Paramount. At $12 per ticket it was clearly the best performance value in town. Avid fans may insist on a revival of the show soon, although reassembling such a talented ensemble may prove difficult. Bowie fans everywhere can watch and advocate for its return and wide touring.”
— David Robinson, Austin Theater Examiner


“Whether improvising or choreographed, Steve Ochoa, Andrea Ariel, and Alyson Dolan exhibit incredible technique, follow through, and intensity. It’s a privilege to watch them perform, and the countless awards and nominations they’ve received over the years are well deserved. The Super Creeps are exceptional as well, especially frontman Adam Sultan. Sultan embodies the androgynous style and signature vocals of Bowie without coming off as a carbon copy. He’s a confident, enthralling performer in his own right.”
— Jeff Davis, Broadway World


“This program of five choreographers riffing on ‘Heart’ pulled me in and provoked me to deeper exploration”
— Jonelle Seitz, Austin Chronicle


“The collaborative nature of “Heart” highlighted the metaphorical nature of the human heart: Multiple feelings, one organ.”
— Claire Christine Spera


“….the dancers assembled a dazzling matrix of movement.”
“Reynolds/Stopschinski’s score a bewitching combination of jazzy impressionism and rhythm-driven music.”
“The artistic whole-lights, projections, music, motions, costumes, everything working together-seemed entirely unfamiliar.  Something in it refused to be specific, and instead became evocative, intelligent, but also intuitive.”
“Together they advanced toward something remarkable.”
— Michael Barnes, Austin American Statesman


“There is…a beauty that was evident in the program that is less easily described: the beauty of collaboration. Something in the this combination of artists, pulled together from various disciplines, seemed to be feeding all of them, leading them to expand their creative limits, to give to the other artists something they could play off of, build off of. The feeling of exchange in the air, exchange among artists, was…beautiful and exhilarating.” —Robert Faires, Austin Chronicle


“…enticing in that enigmatic way that fire is, so bright and intense and somehow not quite of this world, so that you want to be part of it even if doing so is to immolate yourself.”  — Robert Faires, Austin Chronicle


“Few artists combine as many disciplines and as many inspirations as Ariel-and to such canny effect. ‘ 7 Rooms to the Soul’ is a landmark.” — Michael Barnes, Austin-American Statesman


“The Ariel troupe manifests personae of poignant stillness, of razor-edged frenzy, of flowing grace, of downright absurdity in expressing the dimensions of humanness.” —Wayne Alan Brenner, Austin Chronicle


“A work that should be remembered for its powerful, meaningfully creative choreography and inspiring, energetic dancing, “(re)flex” will unearth the creative reflexes of all who come to see it.” — Kendall Klym, Austin American-Statesman


“The work pulsates like an aftershock of a substantial earthquake.  Filled with raw and refined energy, along with plenty of creativity and meaning, the show is a must-see for anyone interested in progressive dance with a kick.” — Kendall Klym, Austin American-Statesman


“Athletic partnering and unison work showcased the technical virtuosity of the group…character-driven and three-dimensional on the one hand, unemotional and brilliantly technical on the other.”
— Dawn Davis, Austin Chronicle


“well-rehearsed, talented group of dancers who know how to express just what it means to be human”
—Kendall Klym, Austin-American Statesman


“Smart, expressive, edgy fun. Ariel Dance Theatre and The Walter Thompson Orchestra’s fusion of live music, dance, film and visual art was a clearly articulated invention and a cleverly complex work.”  — Jeannie Claire van Ryzin, Austin American-Statesman


“A most impressive display of powerful technique summoned by unyielding demands of the choreography.  This extraordinary blend of music and dance was an exhilarating aural and visual experience…enchanting, engaging, and captivating collaborative achievement.” —Barbejoy A. Ponzio, Austin Chronicle


“Ariel Dance Theatre exhibits fine technique…with strong production values and polished performances”
— Jaime Smith, Austin American-Statesman 


“The Ariel troupe kept us enthralled with physically sensuous dancing….”  — Tiko Lieou,  The Texas Triangle 


“…Superior performer in definition, clarity of gesture and presence…One of Austin’s most sophisticated performers.” —Michael Barnes, Austin-American Statesman


“Ariel has a gift for expressing character” — Robert Faires, Austin Chronicle


“Ariel has established herself as one of Austin’s leading modern-dance choreographers.” — Sondra Lomax, Austin-American Statesman


“Driven. Compulsive. Sophisticated. Refined. Beautiful to watch.” — John Job, Austin Chronicle


“Andrea Ariel throws herself into the art of dance-part gymnast, part sprite-to make movement that’s exhilarating.”
— Robert Faires, Austin Chronicle


“Ariel fills stage space with interesting visual elements to spin strong dancers into…delightful abilities with humor.” — Beth Kerr, Austin American Statesman


“Kudos to Ariel and crew for creating a gobo-studded, beautifully lighted, and media-rich environment for the dancers and for producing glimmers of dance-theatre in the Bausch tradition.”
— Dawn Davis, Austin Chronicle