Radiator

Radiator whispers rather than shouts. That’s not to say it’s forgettable or weak. Instead, its radiance and poignancy reside in its tranquility. In a time of grandeur and constant distraction, Radiator demands we slow down to see the beauty that is often right in front of us.

Trina Mannino The Dance Enthusiast
May 17, 2017
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...upon close inspection, we realize that Easton has just resisted society’s appetite for overstimulation and immediate gratification. By persisting with quiet, refined movements and building speed and complexity more gradually, the smallest moments of dynamic change become unexpectedly magnified. We as the audience become students, hoping to understand Easton’s creative formula. 

Jen George, The Brooklyn Rail
June 1, 2017
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The Constructors

"Stillness continues to be the feeling, oddly, even as the dancers move again, often briskly, often in swirling patterns like eddies from an oar."

Light and Shade:

"Nothing seems studied or strikes a false note. Easton's choreography makes tricky, even virtuosic moves look both unusual and like heightened forms of something we understand in our own minds and bodies very well."

Deborah Jowitt, October 20, 2010, The Village Voice
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The Reclamation:

"Hilary Easton's work has always invigorated me. I love the way the density of information in each phrase is given velocity by the savvy construction of the work as a whole. This stuff is for grown ups."

David Parker, February, 2009, The Reclamation-Audience Reviews
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Noise + Speed:

"Hilary Easton's creativity combines secure craft, sharp intelligence,
hearty expression and fearless exploration."

Eva Yaa Asantawaa, May, 2008, Infinitebody.blogspot.com

"Hilary Easton + Company's performance of Noise + Speed last night left my head swirling. In a good way. During the course of the hour-long performance, set to music and text, I found myself drawn in again and again."

Shea Settimi, Audience Review, mounttremperarts.org, August, 2008

It's All True:

"Watching the piece unfold, you realize two things about Ms. Easton’s work over the last 15 years or so and why it is so intelligent and engaging. She choreographs like a poet, weaving together piercing, elliptical observations. And she knows her dancers lovingly and well."

Jennifer Dunning, June, 2007, The New York Times
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"Easton is a member of that dangerous species Choreographers with Ideas. Yet far better than most, she understands how to convey her concepts by means of dance. Often, she does this by translating her themes directly into dance problems; her new “It’s All True” illustrates the fallibility of memory by passing a movement sequence from dancer to dancer, telephone-game style. Just as typically, though, the work is equally a love story: one man’s romanticized memories of an affair are challenged, even coöpted, by the group. The effect is comic and wistful, in tune with Thomas Cabaniss’s original score."

Brian Seibert, May, 2007, The New Yorker

The Short-Cut: 

“But then Ms. Easton herself is a humanist. And "The Short-Cut" feels almost visionary in its simple affirmation of the magic of art and the human spirit.”

Jennifer Dunning, May, 2005, The New York Times
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“Marvelous and deeply thoughtful”

Deborah Jowitt, May, 2005, The Village Voice
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“Easton’s sense of stage movement and direction is especially keen; neither the eye nor the awe wanders. Tableaux spring and spin into action, a mellifluous unmingling of limbs as the group separates. Long reaches, circling arms, deep lunges, centrifugal lifts, leaps and weighted movement fill this repetitious aerobic lecture demonstration, in solos and duets, trios and quartets. Humor is infused into the exercises as dancers race through activities, coached on with positive and negative reinforcement by their fellow performers.”

Brian McCormick, June, 2005 Gay City News
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“The measured thoughtfulness of this choreography, where nothing seems overdone or unnecessary, is a rare phenomenon in the dance world. The dance has meaning. An idea is conveyed, presented, and completed to our satisfaction in one hour -- what a treat!”

Philip Sandstrom, May, 2005 Dance Insider
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“Fresh, smart, witty, and vivacious”

Brian McCormick, January, 2006 Gay City News: Memorable Works of 2005

Frost Palace:

“In Hilary Easton’s beautiful, haunting dance, based on Hans Christian Anderson’s fairy tale “The Snow Queen”, Kay and Gerda (Aaron Draper and Monica Bill Barnes) dance and play as if in mind-lock, showing the magnetic connection between a couple too young to know that they are in love, or that love can be lost.”

Liesl Schillinger, January, 2003 The New Yorker
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“If only all winter chills were as heartwarming as the one Hilary Easton conjured up choreographically in Frost Palace at the Clark Studio Theater on Saturday night.”

Jack Anderson, January, 2003, The New York Times

Other works:

“Hilary Easton's generous, inclusive sense of humor was one of the most likable things about a program of four new and recent works that she presented on Friday night at the Clark Studio Theater. Hers is not an unfailingly sunny humor. Ms. Easton seems fully aware of the darker side of human nature and presents that, too, in dances filled with choreographic invention.”

Jennifer Dunning, The New York Times

“Her dances redraw the world in strokes of good humor and warmth, and you leave her universe musing on how much fun it was to be there.”

Nicole Dekle, The Village Voice

“Hilary Easton’s dances are spunky and shrewd. They have some contemporary, shot-from-guns rambunctiousness, but Easton also knows how attitude shapes movement.”

Deborah Jowitt, The Village Voice

“Her pieces are filled with energy and buoyancy, unexpected twists and turns, sudden gestures and graceful rhythms.”

Alexandra Enders, Elle Magazine

“What makes Ms. Easton’s work so distinctive and so exhilarating is its wit.”

Jennifer Dunning, The New York Times