Assis Carreiro
Artist Management 
International Arts & 
Cultural Projects

The Press

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“The third piece on the program was created by Natasha Adorlee, making her company debut with Tulsa Ballet. And an impressive debut it was. Her Horas de Hamra, created for Tulsa Ballet II, was the most impressive and compelling of the three works, both in how it was made and how it was performed.

In one sense, it reminded me of Nacho Duato’s Jardi Tancat. It has the same kind of power: an earthy evocation of lives consumed by the need simply to subsist, so that when fundamental feelings surface, be they tender or violent, they hit with volcanic force, even though whatever catharsis they might provide never seem to last under a punishing copper sun.

From start to finish, this was a dazzling performance by some superbly talented dancers.” 

- James D. Watts Jr., Scene Reporter

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“Adorlee’s Blooming Flowers and the Full Moon was a duet for real life couple, McFalls and Joseph A. Hernandez, inspired by Adorlee’s parents’ personal story. 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, for instance, when Hernandez, who has martial arts training, lifted McFalls from the floor by her ankle, and later cartwheeled her with little more than a flick of his wrist. It was clear the couple had become more attuned to each other when the music moved from a syncopated tango into Roberta Flack’s famous lyrics, ‘The first time ever I saw your face.’

In the final moments, a disco ball spun a refracted glitter over the two as they danced while joined together in a long romantic kiss.”

- Karen Hildebrand, Fjord Review 
 

“A fourth piece, by ASI Artistic Fellow Natasha Adorlee, Blooming Flowers and the Full Moon (Flowers), was developed outside the SKETCH theme. It represents a section of a full-length work I look forward to seeing later in 2023.

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.

The climax finds McFalls tumbling over Hernandez’s shoulder and landing in his lap. Their faces meet, and with lips locked they rise as one. He carries her across the stage, her feet float on air as he twirls her, their kiss remains unbroken as the lights fade.”

- Jen Norris, Dance Reviews

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“Choreographer Natasha Adorlee provides an energetic close for the program with Octane, which she describes as an exploration of momentum, control and release, and an examination of the forces that drive us.

Octane begins with a brief duet, laughter and an exchange of repeated phrases: ‘What does it even mean?’ and ‘Say it again.’ The full company of nine circles up, breaks away, and crashes together with kamikaze-style partnering as the hypnotic electronic score steadily intensifies…

The work reaches a climax when, in a fun and unexpected twist, HCDC guest artist Vivian Shock emerges in fluorescent green tap shoes. Her feet flying with precision, she ushers in another surprising shift… What does it even mean? I can’t say that I’m sure, but I’d willingly see this charming performance again.”

- Nichelle Suzanne Strzepek, The Dance DiSH 

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“Liminal Space choreographed by Natasha Adorlee in collaboration with the dancers was pure contemporary dance. In a video preceding the piece Ms. Adorlee shared her inspiration, the grief of losing her father at a young age and now feeling his loss anew as her memory of him fades. She spoke about griefs’ varied qualities and non-linear nature.

The company, now clothed in sepia-toned utilitarian genderless tops and pants, was very grounded. They began in a pulsing pile on the stage slowly growing into individuals.

Movements rippled through bodies beginning at the head and rolling down through shoulders and torsos to pelvises and knees. One body reacted to another, echoing the ripple like a wave moving through a stadium of sports fans.”

- Jen Norris, Dance Reviews

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