WHAT CRITICS AND OTHERS SAY ABOUT FARRELL DYDE

“Farrell Dyde is a witty, articulate dancer/choreographer whose inventiveness and clarity of thought remind me of Merce Cunningham….Dyde is a perfect exemplar  of modern dance, of disciplined investigation into new ways of making dance.”
-- Nancy Kauffman, Austin American Statesman

“Dyde, like portentous dance force Martha Graham, seems to be able to step back from even the most intensely angst-filled ideas and say, these are only comments on reality, not life itself, and then haul out a vast knowledge of music, dance, modern art and drama to make them coalesce into fast-paced, often witty, organic theater.” -- Elizabeth Elam, Houston on Stage Magazine

“Farrell is among the nations most gifted modern choreographers.  His creations embody intelligence, imagination and wry humor. He is an important figure in modern dance.”
-- Jim Bernhard, Theater Under The Stars, Houston

“His works were always probing and striking…. A master of improvisation… a powerful performer in his own and other people’s works. A man of keen intelligence and rare vision.”
-- James Clouser, Choreographer

“His work  comes from a unique, imaginative and unpredictable point of view. He has a brilliant sense of presenting his ideas. He dances with intensity and commitment and more than once has left me overwhelmed by his performance.”
-- Joanna Friesen, former Director of Dance, The University of Houston.

“Last Year’s Hit” ... “A gemlike mime dance piece crystallizing the best aspects of Dyde’s stage personality. There he was a black garbed, white faced Everyman just wanting to boogie inside the warm circle of his sheltering spotlight.”
- -Carl Cunningham, The Houston Post

“I definitely came unstuck during a performance on DTW’s Out of Towner series of Farrell Dyde…wish I could see more of Dyde’s group choreography.”
-- Deborah Jowitt, The Village Voice

“Farrell Dyde turned the stage of the Bessie Schoenberg Theater into a state of mind….eerie and hard to shake…moments of highly charged though understated physicality in this fine dancers body.”
- - Jennifer Dunning, The New York Times

“What Robin Williams is to verbal improvisation, Dyde excels and exceeds in movement.”
-- Jana Vander Lee, Free Lance Critic

“The ideas are brilliantly surreal and dangle on the cutting edge of cruel comedy.”
-- Ann Holmes, The Houston Chronicle

“As things turned out Farrell Dyde’s pointedly forceful dance characterization of Lenin turned out to be the most cleanly satisfying moment of the ballet.”
-- Carl Cunningham, The Houston Post

“Completing the spectrum was the hard edged modernism of Farrell Dyde…It was another of his excellent solo works taut with dramatic development, tinged with humor, not completely honed to perfection.”
-- Charles Ward, The Houston Chronicle

“Dyde is a fine performer with a sly comic sense, gifted in improvisations.”
-- Suzanne Shelton, Dance Magazine

“Risks and Pleasures was an absurdist-theater style piece involving fire eating frenzy and a plumber’s friend by guest performer Farrell Dyde who moves his long limbs with keen control.”
-- William Albright, The Houston Post

“ Stigmata once again showed Dyde to be a strikingly dramatic dancer with a strong sense of style and character”.
 -- Everett Evans, The Houston Chronicle.

“ In pieces like Desire in the Hinterlands and the solo, Havana – both ironic examinations of love lost and regained, of meeting and parting – he opened a window on dance that revealed a panorama wider and grander than the views offered by many better known modern practitioners of movement.”
 – Elizabeth Elam, Houston Home & Garden

"Farrell is one of the most creative artists I've worked with - his experience in modern dance is outstanding and innovative. He has presented some of the most exciting performances in the city."  -- Margaret Bott, Arts Administrator

. “Dyde’s was the most ambitious of the dozen or so modern dance groups formed over the years here, not necessarily because of the number of performances that the company gave or even the skill of the dancers, but because of Dyde’s talent for witty, innovative choreography.  In pieces like Desire in the Hinterlands and the solo, Havana – both ironic examinations of love lost and regained, of meeting and parting – he opened a window on dance that revealed a panorama wider and grander than the views offered by many better known modern practitioners of movement.”  -- Elizabeth Elam, Houston Home & Garden
 

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