Kansas City Studio on New Moves 2022 with Kansas City Ballet

"Marika Brussel’s Already Infinite is a complex large-group work that is constantly dazzling, a kaleidoscope of beauty. I’ll confess to having made very few notes as I couldn’t bear to tear my eyes away. The twelve dancers are grouped into threes and fours, each group differently costumed and choreographed. Three of the men form a time piece with mesmerizingly, precisely ticking arms. Yet allegory this is not. It is rather a dancing meditation, a galaxy swirl of infinitudes, possibility and life, as suggested by gorgeous levitating leaps and constant, calm propulsion. Set to a lush score by Ben Juodvalkis (with hints of Appalachian Spring) and featuring virtuoso performances by its cast of twelve, Already Infinite made the strongest impression of the night and grounded the program’s impressive second half."

"[With Singing to the Grass (meant for you] Brussel infused the unexpected into the syntax – lush parallel postures and abundant counterbalances ... a much more egalitarian approach to the classic ballet pas de deux."         -Dance Commentary by Heather Desaulniers

Acclaim for From Shadows

"...if you have any doubts about the power of ballet to tell gritty contemporary tales, this should dispel them."

"Part art film, part modern ballet for the stage, Marika Brussel’s House of Names slides adeptly in and out of genres, synergizing film, dance theatre, and a haunting original score from Carla Lucero, in this gorgeously lit and costumed production. Brussel’s talented dance artists mesmerise us with emotionally charged renditions of her powerful and nuanced choreography. We inhale the full range of human emotion through these modernized versions of ancient tales that ultimately re-vision and re-empower female mythology—"   by Kyeren Regrhr

University of North Carolina School of the Arts 

UNSCA

ARC Dance continues to inspire and bring excellent work to its stage. ... in addition to choreographic bon-bons, a great work is culled and called up, as in Skin of the Sea ....   Dean Speer- Critical Dance

"Brussel...avoided romanticizing the circumstances and mobilized ballet tropes in lush and unexpected ways. She succeeded where far-more-famous choreographers have failed in deploying the limited vocabulary and the hyper-refined aesthetic of ballet to tell a modern, authentic tale about a marginalized population."

KQED "Spotlight" on From Shadows

"San Francisco choreographer Marika Brussel has a clear goal with her world-premiere “From Shadows,” a full-length piece about homelessness." -SF Examiner

Homelessness emerges From Shadows by Jeffrey Freymann

"Choreographer Marika Brussel is creating from shadows...." 

                               -from The Classical Girl