ArtForum 500 Words Interview

Press for Michelle Boulé’s solo WONDER

“Michelle Boulé’s affecting solo WONDER concurs that, thanks to reality TV, dance has come to represent sweaty aspiration. But, besides falling and stuttering and standing self-consciously still, Boulé really danced, sometimes with outlandish tricksy virtuosity, sometimes with modern-dance inwardness. Dance was no longer just a stand-in for something else. Plus, the shape-shifting, character-sifting solo was driven less by complaint than by deep questions. It asked, for example, what a dancer’s conception of dancing – whether as armour, medium or confessional – had to do with her relationship with the audience. For once, dance was not the enemy. With WONDER there was no enemy.”
-‘American Realness, Abrons Arts Center, New York – review‘ by Apollinaire Scherr for Financial Times

“Michelle Boulé’s opening to WONDER–her solo, commissioned by Issue Project Room and premiered in the Gallim Dance Studio at Clinton Hill’s Church of St. Luke and St. Matthew–could be remembered as this dance season’s most stunning and certainly most courageous adventure.”
-‘Wondrous Michelle Boulé‘ by Eva Yaa Asantewaa for InfniteBody

“As a dancer, Michelle Boulé has emerged. But as a choreographer, this enigmatic artist, best known for her grounding yet exhilarating presence in the work of Miguel Gutierrez, still falls into that category known as “emerging.” So it is that Issue Project Room, a Downtown Brooklyn arts center, has invited her to make a new work, “WONDER,” as part of its Emerging Artists Commission Program…”
-‘Peeling Back the Layers’ by Siobhan Burke for The New York Times

“When Ms. Boulé is onstage, it’s hard to take your eyes off of her, as anyone who has seen her in the work of Miguel Gutierrez can attest. Lucky for us she has been making a new solo, “WONDER,” presented by Issue Project Room at the Church of St. Luke and St. Matthew…”
-from a Starred Dance Listing by Siobhan Burke for The New York Times

“This piece gave me what I go to dance to experience: truth in a way I can’t get anywhere else. Almost ever.”
-from Luna Luna Mag by Alyssa Morhardt-Goldstein

“I’ve never seen Boulé struggle with a role as a performer, though I don’t mean to say “she makes dancing seem easy” or anything like that. I mean that there’s something more exceptional going on, like an evacuation of the self in order for her body to become most hospitable to the forces of each dance.”
-from Interior Design by Samara Davis

Traumatized by Michelle Boulé’s WONDER and other Americans by Inta Balode
300 Words on Realness: WONDER by Lydia Mokdessi
Four Views on Realness by Lizzie Feidelson
Eva’s “Nice” List: Most memorable arts experiences of 2013 by Eva Yaa Asantewaa
Critical Correspondence Interview on the process of making WONDER with Michelle Boulé by Matthew Walker

Michelle Boulé in New York Times feature by Claudia LaRocco

Press for Michelle Boulé’s duo with Okkyung Lee
New York Times review by Brian Seibert
Review by Extended Techniques

Michelle Boulé in And lose the name of action by Miguel Gutierrez and the Powerful People

“One of the stand-out sections, indeed, powerfully contrasted nimble-footed Michelle Boulé – who seems capable of masterfully executing more or less any choreographic challenge flung in her direction – with the piped-in voice of a man affected by aphasia in the aftermath of a stroke, invoking a poignant awareness of the aging process and ravages of time.”
-Ivan Talijancic for

“Boulé skillfully shifted from sharp and icy to soft and melting. In a solo early on, dressed in black shorts and a gauzy one-armed black top, she was darting, quicksilver, a distressed figure with a devilish side.”
-Andrew Boynton for The New Yorker

“…Gutierrez employs performers ready for the monumental challenge. Michelle Boulé, especially, whose improvisation is bewitching and so effortless, her twists and jumps seem to manifest without a moment’s thought. She is a revelatory signpost in Gutierrez’s journey.”
-Adam Whitney Nichols for V Magazine

Michelle Boulé in Body Duet by John Scott’s Irish Modern Dance Theatre:

“Michelle Boulé is a force of nature. She dances like a volcano and I can’t take my eyes off her.”
-Lisa Kraus for thINKingDANCE

“Sometimes jarring, sometimes synchronized, Boulé and Connaughton are the utmost combination of athlete and artist, delivering riveting performances with grace and prowess. Never appearing to struggle, both performers are sensational, with movements strong, pronounced and purposeful; Boulé’s Bessie Award is fully justified in this performance alone.”
-David O’Shaughnessy for

“And what performances. Connaughton ranges from aggressive, flailing movement to side-splitting multidimensional caricature, while Boulé maintains a concentrated intensity throughout the hour with an ability to change from absurdly comic to absurdly tragic within a moment.”
-Michael Seaver for Irish Theatre Magazine

-Seona Mac Réamoinn for The Irish Times

Michelle Boulé interviewed by Lauren Bakst for BOMBLOG for her piece Hello, I need you at The Kitchen

Michelle Boulé in Bascule by David Wampach:

“If it weren’t for the compulsive charisma of dancers Michelle Boulé and Liz Santoro, I might have beat my head against a wall. But there they were, making me watch them do the same thing over and over again. Change. Again. Etc. There’s a fine line between insipid and inspired, but this one made the list, so Wampach obviously played it well, right?”
-David Velasco, Artforum, DANCE Best of 2010

Michelle Boulé interviewed by Samara Davis for Bomb Magazine

Michelle Boulé in Last Meadow by Miguel Gutierrez and the Powerful People:

“Michelle Boulé who does a gender bending turn as James Dean is just knock out…  It’s one of the most phenomenal performances I saw last year.”
-Claudia La Rocco WNYC Weekend Edition
, minute 4:20-5:10

“His undeniable star was the stellar dancer Michelle Boulé, whose haunting portrayal of James Dean showed her to be every inch an actor as well and just might have been the revelation of the year.”
-Claudia La Rocco, NY Times
Critics Best of 2009 picks

“the amazing Michelle Boulé in a tour de force performance”
Susan Yung, Thirteen Sunday Arts Blog

“Boulé, a diminutive powerhouse…”
-Kelly Clarke, Willamette Week

“Easily the best thing about the performance is Boulé’s mimicry of James Dean. The show begins with a drunken monologue from Giant as Jet the troubled oil tycoon mumbles a banquet speech in an empty room, slobbering through a tangled litany of defiance and remorse. Boulé’s body almost seems to be inhabited by Dean—she’s easy in his looseness and slouch—and, when we see her moments later as the shy Cal from Rebel Without a Cause, her puppy dog eyes and hunched shoulders are an uncanny copy of the singular actor.
Boulé is a good focal point for Last Meadow. It’s easy to cling to her as the action becomes more chaotic and diffuse, breaking down time and time again.”
-Patrick Alan Coleman, The Portland Mercury

-Deborah Jowitt, Village Voice ‘Miguel Gutierrez Goes to the Movies…’
-Eva Yaa Asantewaa, Dance Magazine ‘Miguel Gutierrez and the Powerful People’

-Michelle Boulé and Tarek Halaby on Last Meadow, Critical Correspondence Interview with Abigail Crain

Michelle Boulé in If I Sing To You by Deborah Hay Dance Company (William Forsythe Commission):

“Hay’s choreography depends heavily on her individual dancers, and the five performers (Michelle Boulé, Jeanine Durning, Catherine Legrand, Amelia Reeber, and Ros Warby) deliver. Their adroit bodies – most notably Boulé’s strangely magical naïveté – opened up an uncanny space between experience and consciousness.”
-Hong-An Truong, Idiom Mag

“In shorts and sweater vest, her black hair endearingly tufted and her eyes like saucers, the magically astute Michelle Boulé had the affect of a transgender child on his first day of school and a physicality somewhat like Leonardo DiCaprio as the mentally challenged boy in “What’s Eating Gilbert Grape.”
…Ms. Hay’s dances depend, more than most, on their dancers, [who] captivate on the minute-to-minute scale the choreography demands. Through virtuosos like Ms. Durning, Ms. Boulé and Ms. Warby you see how Ms. Hay, who in the 1960s helped revolutionize dance in part through pedestrian movement, is now using the everyday as a vocabulary and exploding it, making it at once more familiar and utterly strange.”
-Claudia La Rocco, NY Times

Critical Correspondence Interview with Rebecca Davis

Michelle Boulé in Everyone by Miguel Gutierrez and the Powerful People

“While their foreplay becomes greedier, Boulé starts to talk to us, loudly and clearly, musing about the passing of time in a creative life (“Oh, how many bad poems will I write this year?”). She reminds us that “we are in this place together” and says, “This is the last piece I made for you, yes. . .one down, so many more to go.” The words were written by Gutierrez, but Boulé owns them here and now. As she punctuates the speech with yesses and nos, she’s as passionate with her (his) thoughts as the couples are with their bodies. The scene is strangely moving. Fierce as she is, I’d like to go up and put my arms around her.”
-Deborah Jowitt, Village Voice


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