“Substance and texture...shape across space in Lazier's evocative choreography....The troupe beckons audiences into mostly abstract yet extravagant landscapes and mythscapes....In Transparent Body...Lazier and Williams make time expand and contract, and often drop its snapped-off, ragged edge before grabbing it up and working it again.” —Eva Yaa Asantewaa, The Village Voice September 15-21, 2004

“Terrain (the Kitchen, April) made its New York debut in Uncharted Dances, by Rebecca Lazier. As Vanish began, dancers tucked in the wings suddenly flung themselves out like confetti and tickertape. Lazier arranged these pliable, hyperactive bodies in attractive disorder. OrderÑunison movementÑsatisfied when it came and did not overstay its welcome. Falling Awake showed more of the choreographer's intelligent, fine control of complex material. This, Lazier's quirky solo and her only appearance, reveals her to be a sturdily built dancerÑnot slim, not sleekÑwith a sense of humor and few inhibitions. Visually memorable and boisterous.” —Eva Yaa Asantewaa, The Village Voice May 2002

“Wide ranging, generous movements and raw physicality mark Rebecca Lazier's absorbing dances.... Lazier's bold movement vocabulary, with its appealing combination of no-holds-barred turns and dives to the floor and the surprising moments of quiet in torqued shoulder stands and still, hawk-like hovering is articulated fully by her seven dancers, who throw themselves into every off-kilter balance and tangled embrace with an abandon that is truly astonishing. Vanish opens the door into Lazier's choreographic realm, defining her vocabulary of movement with its gutsy sweeps of arms and legs and its space-eating leaps and dives. A kaleidoscope of charged movement, Vanish lives up to its name, with the dancers silhouetted against the vanishing light, their arms reaching for the sky.... A Stone's Throw is a sometimes lyrical, sometimes wild journey through various cycles of love-holding back, giving in and letting go. [The musician and three dancers] fill A Stone's Throw with a kind of glowing vibrancy that alternates between pathos and exuberance....Nurses exhibits Lazier's devilish wit....[The dancers] enact a wild, perverse escapade that explores not only female roles and the female body, but abusive relationships as well.” —Sophia Ernst, Show Business Weekly April 27, 2002

“All dancers have beautiful bodies. Rebecca Lazier has a magnetic one. Not only does she unfailingly draw the eye, she conveys such a strong sense of connection to the floor that she seems unable to put a foot wrong. More, her choreography imparts that sense to the dancers who work with her.

A solo, Sepia, displays all of Lazier's strengths as dancer and choreographer: her clean articulation, trust in momentum, and ability to communicate ideas without signposting them... Vanish succeeds brilliantly in connecting the music and the dance, engaging her ensemble in a danse macabre that complements, though it can't explain, the shrieking discord. Schoenberg has the right mix of structure and unpredictability to engage her imagination.” —Kelly Kleiman, Chicago Reader July 2001

“Lazier a kinetic triumph. Vanish . . . created an entire geography of gesture out of a thousand blades of grass. Schoenberg anticipated her method in the way he integrated precisely poised musical detail into a whole as stoutly packed as the nucleus of the atom.... The choreography was extreme in its athleticism, not the athleticism of acrobats, but a dynamic yoga of movingly human twists and turns, leaps and slides, which animated and articulated [the stage] with a breathtaking physical kaleidoscope of folding and unfolding arms, legs, feet, hands, torsos and heads, all of it strikingly integrated into the musical design of SchoenbergÕs score.” —Stephen Pedersen, The Chronicle Herald, June 11, 2001

“Lazier embraces the natural movement style of a pure modern dancer and makes choreography that feels very human, feel of breath and feeling, not at all formalistic. . . Lazier juxtaposes crazy and calm kinetics; hurling herself about or vibrating uncontrollably one moment, she oozes through long, stretchy moves the next.” — Lisa Jo Sagolla, Back Stage October 8, 1999

“The slashing gestures and sudden falls of Contusion . . . sent [the dancers] rushing headlong into a tumultuous encounter. In the equally powerful Sepia Ms. Lazier appeared to contend with invisible but omnipresent threatening forces. ” — Jack Anderson, The New York Times, September 25, 1999

“...Lazier even transformed her introductory speech into zany performance art....[S]he carried on, careened and crashed to the floor in an over-the-top routine that astonished with its audacity....Lazier choreographed a more combative, intesne piece, [Contusion] like warrior maidens reacting to the live and truly wonderful percussion score composed and played by Shane Shanahan.” —Tony Angarano, Hartford Courant May 5, 1997