Articles
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New York University 2003
Charlotte Griffin Jolts Ballet Tech
Dance Magazine 2001
The New York Times 2000
Photo: Kirk Woolford
Additional Press
Herald-Tribune: Review of Sooo... 2003
"A long-limbed Francine Liboiron stretched, twisted and posed, using the floor in any number of imaginative ways, but always shifting- either in slow motion or double time- in sync with the musical phrases in a way that brought predictability to some unpredictable and beautifully organic moves." -Barbara Leverone
Backstage Magazine: Review of Three Jukes 2000
"The artistic highlight of the evening was the one work choreographed (brilliantly!) by Charlotte Griffin. Titled Three Jukes, it employs three beguling solos to wittily mock the sentiments of three pop music, jukebox favorites. To a bopping, carefree Etta James tune, Erin Wilson dances a wacky series of cranky, broken phrases that smugly defy the rhythms and fun of the song. Griffin performs a slick, uptight, and sophisticatedly constructed solo to the simple, earthy sounds of Patsy Cline. And to the soaring romantic strains of "The First Time Ever I Saw Your Face," Andrea Weber performs a beautifully pensive floor-bound solo." -Lisa Jo Sagolla
the Dance insider: Review of Intersection 2000
"For subtlety and sophistication in choreography and dancing, the evening's winner was Intersection, a premiere from Griffin, danced by Adrienne Linder and Peter de Grasse. It begins with the two on their backs, feet facing us, before they look up. They are dressed exactly like bride and groom, except barefoot. The effect is as if they fell off a wedding cake. The sound score here is mostly advice from Emily Post, read by Suzanne Daone, regarding the etiquette of conversation. 'Obviously conversation should be a matter of equal give and take,' Post tells us, and much of the dance seems to be Linder and de Grasse unable to stop their personal tics and listen to the other. They are also constantly trying to tidy up the other. Now, this is a fast dance, but the manic-ness is definitely justified. There's also some mystery to the relatioship of these two, and I liked that the dancers were comfortable with this mystery- with just executing the choreography exactly, and not needing to hit us over the head with indicating themeaning." -Paul Ben-Itzak
Dance Magazine: Review of In Time Taken 1998
"Griffin, a 1997 Juilliard graduate, gave further evidence of her talent in In Time Taken, a neatly-crafted piece to the Andante of Prokofiev's second Violin Concerto. Griffin's idiom is casual, with turns, falls, scoops, and place changes that work against the music's piercing lyricism but don't seem out of place." -Lynn Garafola
The New York Times: Review of Practicing Joy 1997
"Charlotte Griffin, who will graduate in May, offered a clever curtain raiser in her Praciticing Joy, Sean Dolan, as her percussionist, was as expressive in his shouting as in his playing of Jonathan Newman's commissioned score (both studied at Juilliard) and the dancers (Lazaro Godoy, Michael Lomeka and Lance Sherman) stood on their heads when not twisting in and out of tersely sharp movements." -Anna Kisselgoff
Shout: Review of Practicing Joy 1997
"Ms. Griffin's work, Practicing Joy, was a mixture of movement and yoga performed by three men- Lazaro Godoy, Michael Lomeka, and Lance Sherman- to Sean Dolan's percussion with vocal expressions. Although the piece was short, the conflict between frantic movement and centered balance, expressed as repeated headstands, was very effective in showing the two extremes of physically expressed joy. What was most enticing was seeing three men equally share moments of exuberance and serenity not often exposed by men in the American culture." -Gregory King