Reviews/Press

Go TogetherAccording to Kirsten Kashock’s review of Go Together in Thinking Dance: “Goudie-Averill’s final work of the evening… included moments of humor and wit and even virtuosity… The live percussion and sense of community in the large group work “American Nostalgia” ended the evening with a picture of the chaotic, dynamic machine that is humanity.”

“For Members Only, choreographed by Ellie Goudie-Averill is … embodied and sensory as the dancers move, fall and slide over each other… They roll off of each other and establish their own spaces, initiating a series of sharp, urgent movements” –Dr. Kariamu Welsh, Thinking DanceMembersBalance

 

“Eleanor Goudie-Averill performed her solo, Convictions, … depict[ing] an internal struggle to express strong beliefs and opinions. The piece itself seems to have evolved with time and Ellie’s movement and stage presence are simply infectious to watch.”

–Philadelphia Dance Journal

“A weird, cushion-like, inflated birthday cake sat in the center of the stage for all of Eleanor Goudie-Averill’s “Make Your Cake and Lie in It,” a surreal, humorous, provocative and unusually engaging dance. Goudie-Averill hurled herself about the stage while two dancers, Tuesday Faust and Penelope Hearne, flanked the cake like back-up dancers to her solo. Faust and Hearne stayed put for almost the entire dance, rocking, executing simple gestures, while Goudie-Averill performed a smorgasbord of motion around them. This closer of Act I delighted and tickled the eye with its baffling quirk.”

-David Ollington, Review of Modern Night at the Folly, Kansas City Star

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“Goudie-Averill set a humorous morph of polka and modern to a trio of polka tunes in Whatdeheckisdepolka?. She toyed with restricted range of motion by having dancers anchor their elbows at their waists, resulting in comic, abbreviated arm movements and hands flapping at the wrists. Cheeky expressions and the quick hop-step-close-step of polka alternated with a freer style of modern leaps and spins to paint a rich visual texture.”—Mindie Paget, Lawrence Journal World

“[A] gorgeous duet between Goudie-Averill and Kathleen O’Connor in (felt) … [h]ere, Goudie-Averill and O’Connor created a deep sense of contemplation, with hands moving over their bodies as if trying to remember something, and lots of beautifully formed leg extensions held for long periods of time that added to the longing and uncertainty of the music.”—Becca Ramspott, Pitch Weekly

Ma Mere l’Oye, a lovely fairy tale medley by Ellie Goudie-Averill … with a charming rendition of “Beauty and the Beast … in a heartwarming duet”—Mindie Paget. Lawrence Journal World

“Goudie-Averill and Hancock are particularly fun to watch because they dance with their faces as much as their bodies — raised eyebrows, giggles and bright smiles make their movements highly theatrical in whatever piece they perform and add a warmth to their precise technique and muscular athleticism.”—Mindie Paget. Lawrence Journal World

“Muriel Cohan and Patrick Suzeau’s Hombre Errante (Wandering Man) returned for an encore … with noteworthy solo additions by company alumna Ellie Goudie-Averill.”—Mindie Paget, Lawrence Journal World


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