Home > Press


In Rachel Thorne Germond's work "the body speaks of itself as a political battleground. In these highly ironic works, questions of freedom, control, sexuality, and identity are played out...Sometimes indulging in arresting non sequiturs, her work has a madness about it that is just about right for our time

- Dierdre Kelley, The Globe and Mail

"probably Chicago's only true dance postmodernist"
Asimina Chremos, Time Out Chicago

"It's about transformation. I get to explore moving in ways I would never move, to see
what it means to move like a guy, or, in the case of Marilyn Monroe, like an extreme female."

-Rachel Thorne Germond (interview with Thomas Connors, Time Out Chicago
about the solo Splendor Twice: Gender Splendor)

"She evaluates her own choreographic voice in terms of an 'element of tension and release' that animates her performances. The goal is not just 'beautiful movement', but the tangible and powerful presentation of a message."

-Jenaeth Higgins, Citylink

an emerging choreographer "definitely worth a look"
- Gia Kourlas, Time Out/New York Magazine

a choreographer to "keep an eye out for"

- Frances Mason, Ballet Review

"Gutsy Dancing, Sharp Satire, ...Smart Choreography"

- The Philadelphia Inquirer

"an original voice"

-Jennifer Dunning, The New York Times

"Rachel Thorne Germond is a choreographer of distance and possibility, of accidental meanings that ring true... Germond encourages us to search for meaningful connections..."
- Linda Duke, Krannert Museum of Art
Urbana, IL

"Germond's Rejoinder sings a sweet tune of separation, sex and innocent love as she and Kristina Fluty caressingly plunge and aggressively soar throughout the space in crisp, clean movements that abound with energy and grace. A cameo performance by Andrew Janetti as a "sawman" contributes literal meaning to the dance; he saws a block of wood to represent a severed relationship. It is a refreshing display of emotional transparency." Read More...

- Jessica Weiss, The Brooklyn Rail

"Germond's 10 Marilyns closed out the program and brought down the house. The piece reveals Marilyn Monroe as both icon and human being ...a poignant reminder that we all have a bit of Marilyn in us."
- Kathleen Duffy
Chicago, IL