© 2019 by Sarah Mettin

"The dancers move in a way that I describe as saccadic lyricism. It is a style that I have found unique to Ms. Mettin, it is her saccadic signature of movement, the way the body stops and starts, but oddly never loses its lyricism. It is a mix of the physical and the cerebral. There is a hint of street dance that colors the work, not obvious, but there. If you have not seen Sarah Mettin and Mettin Movement….do yourself a favor and do so…"

       - Darryl Wood, NYC Dance

 

 

“Highly athletic, using strong floor work and volatile partnering to deliver movements reminiscent of Brazilian Capoeira. The dancers exited and entered the stage so smoothly at times they could sneak by unnoticed.”

          - Matthew Donnell, DIY Dancer

 

 

"Their performance tonight was absolutely flawless. If my soul was water this piece would have purified it. Every muscle, toe, look, intention, was devoted to the choreography. I can't praise this performance enough, only that it left me craving more."

        - Timothy Tristan

"Beginning in silence and low-lighting, the dancers adopted an intense outer focus. Partnering in the work did not consist of just one dancer supporting the other. It was instead an interchangeable relationship of give and take and push and pull. The dancers took risks in this type of partnership, working in a safety net of total trust in those around them. "

- Gina Palumbo, The Dance Journal

 

“Stand out for the evening… to say it was a stellar performance of a stellar work would be an understatement. It was beyond superb!”

          - Darrell Wood, NYC Dance

 

 

"Such a high caliber of work... danced exquisitely... the energetic piece left an appreciative audience breathless."

          - Joyce Hyde, The Examiner

 

 

"...abstract...filled with original movement, especially in the arms and hands. The dancers are expressive and musical as the choreography weaves soft port des bras set against abrupt contractions. I especially liked the energy of the group in the unison sections."

         - Karen Shapiro, The Wet Paint Journal

 

 

"They are individually huge performers. Travelling, shifting low or pricking the ground neatly, the pelvis accepts the strength of the floor. Calm energy of each performer is broken by movement that invokes an idea of martial arts, with quick punctuations and blows. Mettin has gathered a group of dancers too smart to make the movement about themselves. From the start to finish, they are complete and generous, bringing us into their buzzing chamber of energy until the lights fade."

          - Sophia Belen, Informal Floor

"Her artistic voice and the dancers who make up her company seemed quite mature... beautiful formations and counterpoint of the choreography... wonderful assortment of dancers who make up the company. This is one to watch."

          - Karen Shapiro, The Wet Paint Journal

 

 

“robust... with a keen sense of earth bound rhythm”

          - Nancy Wozny, Dance Source Houston

 

 

"Aggression and grace are key. Bodies move constantly in and out, giving the impression that we have stumbled into one part of ongoing action." 

          - Emeri Fetzer, Dance Pulp

 


“lyrical, mysterious with an exceptionally expressive performance”

          - Phillip Gardner, Oberon’s Grove