Assis Carreiro
Artist Management 
International Arts & 
Cultural Projects

The Press

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'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, www.tanznetz.de 

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'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, www.tanznetz.de

 

'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

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

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'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 

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'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

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'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

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'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 

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'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, Culturewisper.com

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'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 

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'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

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'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

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'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

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'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

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