PRESS
Liminal Space was segmented by stark differences in movement, soundscape and light. The music ranged from counter-tenor Baroque singing, to tribal drumming, to a voiceover of a woman recalling the last time she saw a specific man. The woman spoke about his face and the elusiveness of memory as a dancer stood facing front, with others surrounding him using their hands to cover his forehead, ears, and mouth, leaving only his eyes showing, until eventually even they are covered. Then their bodies and hands waved, like reeds in the wind, revealing bits of his face, a receding memory in a fuzzy warm light.
Dreamy sections were followed by a lively Vivaldi-accompanied affectionate duet for two men and a sassy group grapevine and salsa step with Spanish guitar. The abrupt nature of the transitions reinforced Adorlee’s concept of grief’s many facets.
- Jen Norris
More Press
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Jen Norris Dance Reviews
“Flowers” is a love duet for the ages. It elucidates the pleasure and the ache that accompanies the beginning of a significant relationship. The storytelling is strong throughout. Dancers Joseph A. Hernandez and McFalls exude a magnetic connection. As flirtation yields to introspection, we vie for them to triumph, riding the waves of exaltation and uncertainty along with them. goes here
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SF Chronicle Review OBC
Then there’s “Last Chinaman From the Titanic.” The music is urgent and dissonant, the costumes are red, and the breathless, animalistic movement is unmistakably the work of Natasha Adorlee, a rising San Francisco choreographer (and former member of ODC) whose style excels in visceral texture.. It’s also the least conventional.
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FJORD
The chemistry grew palpable as the two considered each other from a distance. When they touched, it was with an oppositional tension. Their physicality was as fluidly athletic as it was sensuous.
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KCB Review
I really enjoyed the energy and power Elliott Rogers brought to his role in Natasha Adorlee’s beautifully patterned Komorebi: he had a very watchable stage presence.
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Dance Data Project
My vision of dance is one where the artwork we are making is more financially supported and where more diverse voices are elevated to the foreground.
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Fjord
What has stayed with me are the three sections of text written by Adorlee herself and delivered with voice-over as if a journal entry. Poetic and haunting, it captured an image of the narrator’s long lost father—his face lit in such a way that one eye is obscured.
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Joffrey Ballet
Her background comes from ballet, modern, street dance, and martial arts so all of these backgrounds and styles you can see through her choreography and it’s really cool.
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SF Chronicle
Until Thursday, I would have thought Weare's duets of desire needed her own battle-weary troupe to ignite them. But then, Joseph Hernandez and Natasha Adorlee, in one of the dance season's most stunning moments, delivered "Drop Down" with a freshness and vitality that proved utterly disarming.
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SF Gate
Natasha Adorlee and Jeremy Smith performed “Two If by Sea” as if they owned it.
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New York Times
More than once, Natasha Adorlee plows into a row of her peers, corralling them with her torso.