Decadancetheatre

"Now in its second season, the initiative to present contemporary dance in unconventional performance spaces in and around the Music Center showcased three L.A. dance troupes, plus the work of Weber, who distilled the immensity of Stravinksy’s score into one compact narrative of urban life that felt as timeless as “West Side Story.”--Christina Campodonico, LA Times 8/9/16 Link

"The über-familiar score, gently remixed by DJ Boo, provides the accompaniment for the meat of the work, three main duets and one solo, beautiful and private set pieces that celebrate the range of physicality and expression within the group. In the final moments, Weber gathers the seven dancers ever so briefly into an ensemble, before, wonderfully, releasing them, like so many spinning tops, into recapitulations of their earlier sections."--Janine Parker June 29, 2014, Link

"A Dance Like Keith Haring Come to Life"--Andrew Boynton, April 17, 2012, Link

“The tools of hip-hop, which cause a body to break down and build back up again, give the familiar music a playful edge, even though the dancers aren’t playing around.  The seriousness of the proposition is intriguing, as is the way the dancers refuse to mug. Ms. Utah, lean and muscular, uses her shoulders and arms to convey the sweep of the music; the compact Ms. Alfonso, with a flair for speed in low-to-the ground footwork, digs into the faster sections with attack. Since much of the piece is performed in unison, there is a sense of how two very different bodies approach musicality; one shows its curves, the other its angles.”--By Gia Kourlas, April 8, 2012  Link

“Jennifer Weber’s Brooklyn-based Decadancetheatre got things off to a promising start. In “The Cage,” a world premiere, the four company members balanced their cohesion as a tightly knit unit against individual strengths. –– Donald Hutera, (4/7/10) 

“Deacadancetheatre, the ensemble of five young women from Brooklyn, was an eye-opener with its two B girls in “The Cage.” The quintet was pugilistic in attack, managing entrances and exits with a skip. In deliberate mix and mismatch garments, they epitomized current street-smart young girl-women, making a sentimentalist’s heart bleed, if mesmerizing with their speedy skill.” —Renee Renouf, ballet.co.uk,  (11/27/10)

“Weber managed to bridge some of the gap that occurs when street meets stage. She deftly brings many traditional concert dance steps and structures into a contemporary urban context. She’s got her eye on the big picture, looking to create the proper atmosphere while also offering choreographically complex ballets.”– Maura Nguyen Donohue,  (8/2/06) 

“The pioneering all-female hip hop group, a fearless coalition of Japanese and American B-girls” (7/31/06)

“The all-female cast twitches, jolts, pops-and-locks, and shakes, their bodies in ways superior to that of tech-enhanced Missy Elliott.”--Denise Penny, 8/04, Link

“Her leading dancers bring—dare I say?—the feminine mystique to hip-hop. They suspend the expected fierce staccato moves in a matrix of lush fluency and add a dimension of alluring mystery to the form’s conventional tough, streetwise attitude.” Tobi Tobias, Sept 7, 2004 Link

"Ms. Weber is onto something…a performance that is intensely emotional and casually streetwise" Jennifer Dunning, 8/04

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