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The Press

'What Donlon choreographically and Elwert dramaturgically put on stage with the newly assembled Graz ballet company (18 dancers, six of them new) in the numerous scenes of the two-act novel adaptation (Orlando) are convincingly rooted in content, thought-provoking and dynamically creatively played around in dance.' - Paul Delavos, 

'Together with the Irish-born, internationally successful choreographer Marguerite Donlon, who had wanted to choreograph this work (Orlando) for a long time, a way was finally found: a way that was strikingly idiosyncratic and creative and, last but not least, one that, with well-considered humour, used the big and profound theme of self-discovery as a motif focused orbits.' - Paul Delavos,


'The choreography of The Robbers is modern and even extravagant. It’s definitely worth seeing and the brutality of the plot is transformed into strong aesthetic‘s, thanks to the graceful choreography, the flexible bodies and strength of the dancers. Marguerite Donlon, internationally sought after Choreographer and Ballet Director puts Friedrich Schillers eloquent drama into motion. '
Sabine Lürers Grulke

'Passion and sensuality - that's what Marguerite Donlon's Lorca is about' - Anika Sterna. NOZ. 

'There was a hum of excitement in the Backstage Theatre on Friday night as crowds filled in to see the world premiere of Marguerite Donlon’s latest work The Last Life Boat. And it certainly didn’t disappoint. Telling the story of Marguerite’s grand aunt Katherine Gillnagh, this work is a spectacular ballet beautifully performed by Francesco Vecchione and Claudia Ortiz Arraiza.' - Jessica Thompson, Longford Leader 

'To thumping, catchy music by Daniel Behrens, a massive cast spreads out before the audience’s eyes like a Gaultier gourmet. Each a unique character, they are wearing outfits that run from drugged-up Disney villainesses to Village People tribute acts. […] Just as your eyes adjust to the opulence, each scene is succeeded by another, including dizzyingly inventive scenes by Berlin-based Irish choreographer Marguerite Donlon. A veteran of Germany’s dance world, who most recently worked in Moscow’s Bolshoi, she embraced The One to get a taste of the Palast revolution from the inside.'

Derek Scally, The Irish Times

'The final piece of the evening, Marguerite Donlon’s Strokes Through the Tail, easily won the personality award. No angst or drama here — just wit, humor and playfulness, suitably set to Mozart. It turns out this is a good fit for Zakharova: alternating between tutus and tailcoats, she orders her five male minions around, arranging them like so many notes on a composition page. Fun as this closing number was, what stood out most to me is that it didn’t put its star up on a pedestal, as the other pieces did. Instead, it allowed her to express her power and personality as a living, breathing human being — and not merely as a muse to be endlessly lifted and glorified. Perhaps it’s not a coincidence that it was choreographed by a woman.'

Meghan Feeks, Huffington Post

'Marguerite Donlon thrilled the premiere audience at the Theater am Domhof in Osnabrück with her dance evening EastWest. With a deeply touching atmosphere, an immediate insightful choreography and so much unfamiliarity. The seventy minutes of intensive dancing without interruption fly by. The pure dance theatre, especially in its seamlessly lively integration of dance, song and language, touches with its undogmatic authenticity, which cancels out all West-East differences in the feeling of common humanity.' -  Hanns Butterhof, Tanznetz 

'Strokes Through the Tail (…) is quirky and full of sass delivered by the charismatic male dancers of the Bolshoi; and it’s enjoyable to see so much personality and humour brought to the stage. They copy Zakharova by donning a selection of tail coats and grass skirts, while Marguerite Donlon’s choreography is loaded with slapstick and silliness that ends the evening in giddy spirits.'

Vikki Vile,

'Marguerite Donlon has devoted herself entirely to Shakespeare's tragic comedy style. In the expected tragedy of the immortal lovers from Verona, she reliably tracks down the comedy and does not forget the human tragedy... the orchestra, like the enthusiastic ensemble, receives bravos and long, standing ovations from the rapt audience for a coherent and, for all its entertaining comedy, thoughtful choreography. ' - Hanns Butterhof. NOZ 

'Donlon has given Visceral a tremendous gift with Ruff Celts, a work that should entice some savvy Broadway producer to snap her up to work on a big musical. She is a wizard with a fierce sense of humor and invention.'

Hedy Weiss, Chicago Times

'Labyrinth of Love is an over-leisurely cruise through human emotions by Irish dancemaker Marguerite Donlon. The texts (everything from Sappho to Liz Taylor) are set to a score by American composer Michael Daugherty and wittily sung by onstage soprano Kirsty Hopkins.'

Louise Levene, The Telegraph

'Blue is not only the highlight of the 10 year DDC anniversary but it is without a question the high point of the opening of the theater season in Germany.'

Deutschland Radio

'Donlon hatches the clever device of triplicating the protagonist: Kahlo was obsessed with personae, with complex ruses to explore and mitigate her physical and psychic pain. Here Anna Altés Trenchs, Meritxell Aumedes Molinero and Yamila Khodr dramatise, beautifully, her multiplicity: as painter, lover, bohemian rebel.' 

James Woodall, Dance Europe


Marguerite Donlon

Marguerite's video reel is here.

Marguerite is an Irish-born contemporary choreographer, theatre director, and curator based in Berlin, Germany.  She performed for many years with English National Ballet and with the Deutsche Oper Berlin where she worked with dance legends such as Natalia Makarova, Rudolf Nureyev and Sir Kenneth MacMillan and with influential contemporary choreographers such as, William Forsythe, Maurice Béjart, Meg Stuart, Bill T. Jones and Jiří Kylián.


Marguerite began her choreographic career in 1999. She is known for her humour and profound creativity, her work thrills an unusually broad audience. With stylistic innovation, Irish wit and the combination of different art forms, she has pushed artistic limits to secure a place in the international dance scene.

From 2001–2013, Marguerite was the Artistic Director and house choreographer at the Saarländisches Staatstheater (Saarland State Theater) in Germany. . Just before and after Covid she was appointed ballet director at Theater Hagen and Theater Osnabrueck where she created several new creations under challenging Covid restrictions including Prolog Swanlake, Fragile and later Zeit, East West, Romeo & Juliet and Lorca. She collaborated extensively with both the Philharmonischen Orchestra Hagen conducted by Rodrigo Tomillo and the Osnabrücker Symphonieorchester conducted by Anhoon Song. 

Marguerite is the initiator and founder of the International Dance Festival Saar, launched in 2006 and is the curator of the first Peace Dance Festival in Osnabrück, Germany in 2023. In 2009, Marguerite founded iMove Saar, a highly motived and successful youth dance company comprising of young people from various cultural and ethnic backgrounds. Since then she has launched iMove Ha and most recently iMove Os. 


Over the past 2 decades, Marguerite has created a variety of critically acclaimed works  and be recognised internationally with numerous awards. Giselle-Reloaded was nominated for the Prix Benois de la Danse with its mixture of contemporary dance and Irish traditional dance which has become a strong motif in her work. Romeo und Julia was nominated for the German Theatre Prize, Die Faust.


Marguerite has created choreographies for dance companies and dancers worldwide. She has created for among others, Nederlands Dans Theater 2 (NDT), Stuttgart Ballet, Berlin Ballet, Hubbard Street Dance, Rambert, Companhia Nacional de Bailado (CNB) Portugal, Staatstheater am Gärtnerplatz Munich, Musiktheater im Revier (MiR) Gelsenkirchen, Visceral Dance Chicago, Svetlana Zacharova and the Bolshoi Ballet and The One Grand Show, Friedrichstadt-Palast Berlin.

Most recently she has created new works for BalletX, Theater Basel, Ballet Ireland, Staatsballet Karlsruhe, Dance Company Osnabrück, Tanz Münster, and Ballett Graz, Austria. 

In 2014 Marguerite founded her own project company, Donlon Dance Collective, who have performed in Germany, Ireland and the USA. In addition to her choreographic work, she has directed Samuel Becketts Acts Without Words and Words and Music for the Théâtre National de Luxemburg -TNL and the Ruhrfestspiel Recklinghausen, Germany. 

She made  her debut in opera with L’enfants et Les Sortileges for the Korean National Opera and Ballet conducted by Min Chung in 2008. Her work is often inter-disciplinarian which can be seen in pieces such as East West which was created for Dance Company Osnabrueck in 2022.

In addition to her artistic activities, Marguerite was awarded Medal of Merit by the Minister President of Saarland for her outstanding artistic work. In 2017, she received an the Longford Civic Reception in honour of her distinguished career as a ballet director and her acclaimed achievements in the world of dance. 

She was appointed by the Deputy Prime Minister of Ireland to be a member of the Global Irish Network in 2012. Marguerite is a member of the Presidium of the Federal German Ballet and Dance Theatre Directors Conference (BBTK).

In 2014 she became an accredited PCT and RD1st Business Coach and Leadership Mentor and combines her creative work and coaching skills in the world of business to enhance creative thinking and team building.

Latest creations include a new full-evening production of Orlando for the Ballet of Oper Graz in Austria and the choreography for The Raft of Medusa, with directed by Tobias Kratzer for the Komische Oper Berlin, both in autumn 2023.


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