“Physical and conceptual vigor…Shadows spilled across the stage, bringing mythical dimension.” The Richmond Times Dispatch

“Calmness and fluidity combined with Clancy’s intense physicality… Gravity-defying moves, creative lifts and intricately woven phrases…” Washington Post

“Exciting and vibrant piece of dance architecture…fresh combinations constantly appealing to the eye.”Albuquerque Journal

“Adrienne Clancy gave partnering new meaning.” Washington Post

“When Adrienne Clancy hits a wall, literally or figuratively, she doesn’t retreat. She climbs it.” Washington Post

“Spotlight-grabbing moves with fabulous partnering.” Los Angeles Times

“Enter Clancy world. It’s an endless pas de deux, trios, quatre, cinq and six conjured up in mists and shadows by wizard of invention Adrienne Clancy. Dancers project an enchanting quality of selflessness …a tour de force of unpredictable partnering” Washington Post

More reviews about Adrienne Clancy’s choreography:

“…notable was…the layered aspects of female bonding in ClancyWorks Dance Company’s “Driven [by the female heartbeat].” –Sarah Kaufmann, The Washington Post, 10/9/10 acknowledging ClancyWorks in a review of the 2010 VelocityDC dance festival

“ClancyWorks Dance Company’s curious reinterpretation of the seminal Aaron Copland / Martha Graham ballet Appalachian Spring could be on of the most visceral dance pieces to hit Washington, D.C., stages all year… Clancy takes a completely different approach to the narrative concerns of the ballet here [and] Graham would have dug her straightforward and expressive choreography… the image of a dancer hanging from the rungs of an upside-down ladder is too eye-popping to resist… Even without clever set pieces, the company creates intense stage pictures with balancing acts and lifts that overcome the biggest obstacle of all: gravity.”-Nick Green, CityLights This Week’s Best, (April 25, 2008)

ClancyWorks’ New Angle on a 20th-Century Classic

“Putting a contemporary take on Aaron Copland’s famed “Appalachian Spring” is a formidable task — the score is so recognizable and, in the canon of modern dance, indelibly associated with the Martha Graham masterwork of the same title. In its performance of Adrienne Clancy’s “Passage Rites” at Dance Place on Saturday, ClancyWorks Dance Company was mostly successful in putting a fresh spin on the venerable classic. A recording of the Copland score was alternated with live music for guitar, cello and DJ. Since the piece did not have a chronological narrative, the musical shifts effectively indicated a change in time or place.

“Passage Rites was visually pleasing. The set featured five ladders of various sizes, literal representations of the steps each character had to take to reach a personal goal. Besides bringing an almost sculptural element to the stage, they allowed the dancers to be on different planes. Flipped upside down and sideways, the ladders became a protective barriers, comfy resting place or even restrictive prison.

“Certain images were moving, as when Wendell Cooper lay on the floor and hugged a ladder to his chest, cradling it with the tenderness normally reserved for another person.

“Also striking was when Mathew Heggem defied superstition by standing beneath an open ladder and pressing against its rungs in anguish.” –-The Washington Post reviewing Clancy’s Passage Rites (Monday, March 19, 2007; Page C04)

ClancyWorks Performance Projects @ Dance Place

“Dance Place is not only a model of longevity but is also the venue of choice for District choreographers.

Balancing Acts began with Mermaids and Other Tales of Truth, presented by ClancyWorks Dance Company. Ten dancers of various body shapes and abilities were costumed in flowing garments, turbans and corsets. Their undulating backs and filigreed hand movements were not only inventive but hypnotic to watch. Assuming sculptural forms followed by still poses, the dancers resembled figures that had stepped off an ancient Grecian urn… Clancy’s gift for invention was more apparent in Taking Steps; In this piece, a man and a woman explore the myriad possibilities of dancing in, around and atop a simple household stepladder.” –The Washington Post reviewing Clancy’s Mermaids & Other Tales of Truth, Taking Steps (Monday, May 22, 2006; C04)

Want to read more on what others are saying about ClancyWorks Dance Company?

Check out these downloads:

BlackRock Debuts DanceFest, by Bora Mici, Germantown Patch, 5/11/12

A Think Tank for Dance Teachers, by Lisa Traiger, Dance Teacher, August 2011

‘Coming Home’ A Major Accomplishment, by Jennifer Noyer, Albuquerque Journal, 10/6/08

Modern dance troupe climbs to new heights as National reaches new audience, By Kristen Powell, The Eagle 3/27/08

The Controlled Chaos of ClancyWorks, by Pamela Squires, The Washington Post 6/30/2003


Click here to view the ClancyWorks electronic press kit. 


Dance Educator's Training Institute

DETI is Going Virtual!

Our annual Dance Educator's Training Institute (DETI) is scheduled to take place August 17-19, 2020.

This year, we've decided to take DETI online, due to COVID-19.

While we are saddened not to be able to hold DETI in person, we are excited to welcome people from around the world, who might not otherwise be able to join us! We will have more information about DETI Online in the coming days.

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