CRITICAL PRAISE

“The choreography was rich and well-executed.”
—Lynn Voedisch, Chicago Tribune

"The best effort Friday evening was Frasz’s Eater of Hearts, a chilling and seductive solo…Frasz sculpts her dance along ancient lines…powerfully modern”
—Lynn Voedisch, Chicago Tribune

“Paula Frasz’s solo, Hand Out, was the most intense and probably the most heartfelt…taking great physical risks fearlessly.”
—Effie Mihopoulos, Chicago Reader

“Paula Frasz, a tongue-in-cheek choreographer with a spunky stage presence applies screwball comedy…”
—Lucia Mauro, Chicago Sun Times

“Paula Frasz is a choreographer to watch.”
—Sid Smith, Chicago Tribune

“Bailes Mal Criados …is an undisguised lampoon of romance gone awry.”
—Sid Smith, Chicago Tribune

“Frasz suffered from a profound lisp as a child. The disability fueled her urgent desire to communicate. She spoke through gestures and body movement until speech therapy corrected her problem.”
—Kathaleen Roberts, Courier-News

“The Lottery is both a clever gimmick of musical chairs to allow for seven solos and a haunting white-clad elegy on death as it comes to seven women.”
—Sid Smith, Chicago Tribune

“Delightful!”
—Sue Langenberg, Rockford Register Star

“Other standouts included Paula Frasz’s foreboding yet winkingly theatrical The Old Woman of Wexford—a folk-inspired trio in which Frasz…danced a precarious love triangle in deconstructed Martha Graham fashion.”
—Lucia Mauro, Chicago Tribune

“Most powerful…the dancers in all sections were excellent…” —Terry Brennan, Chicago Reader

“Frasz’s dances often make wry observations on the battle of the sexes, but beneath their madcap surface lies a bedrock of fatalism, an unflinching recognition of the pain people often endure.” —Terry Brennan, Chicago Reader

“Frasz wins the contest!” —Terry Brennan, Chicago Reader

“To my mind, the character Frasz captures is less a street person than the homeless inside each of us.” —Terry Brennan, Chicago Reader

“…a giddy trip!” —Renee Tomel, Republican Newpapers

“The whole effect of this production is spectacular. In just 75 minutes we see a whole Medieval world. There is just so much to see that I have to return for a second time to try to see what I have missed. I know this review is filled with superlatives, but this production really deserves them. Thank you, Paula Frasz!” —Nelson James, Daily Chronicle

“Mr. White Keys, this comical wink at the creative process has Christiano prat-falling with bravura through this visual portrayal of how a musical score is written.” —Lucia Mauro Chicago Tribune

“And dance can also be humorous—Paula Frasz choregraphed a Chaplinesque piece with the foibles and fool-arounds of a bridal duo.”
—Sue Langenberg, Rockford Register Star

“Paula Frasz has the kind of daring, the raunchy, wild merriment just under the skin, the wicked talent
for observation that I value in my friends”
—Laura Molzahn, Chicago Reader

“Its not so much that Frasz tells us anything new as that she finds fresh ways of telling old stories.”—Laura Molzahn, Chicago Reader

“The story is ancient—but Frasz illuminates the humor in it with deft, unexpected physical details.”—Laura Molzahn, Chicago Reader

“Frasz’s sense of humor is not exactly PC. Still, she knows how to undercut the conventional side of her own worldview.”—Laura Molzahn, Chicago Reader

“This choreographer also shows a talent for serious, even tragic tales.”—Laura Molzahn, Chicago Reader

“…paradoxically, she is noble, unforgiving and true.”—Laura Molzahn, Chicago Reader