about Mary Armentrout
press
upcoming performances & events
video
past projects
teaching
feldenkrais
milkbar
dance discourse project
writing
links
contact

Mary Armentrout

Full Reviews


the woman invisible to herself
by Heather Desaulniers in Critical Dance 7/10/11


the woman insivisible to herself
by Heather Desaulniers in Critical Dance 9/19/10


the woman invisible to herself
by Michelle Devera in the SF Chronicle 9/23/10

'Women and War' at Highways Performance Space
by Sara Wolf in LA Times 3/24/08


Dancing Our Emptiness
by Charlotte Shoemaker in DanceViewTimes, 11/14/05


Tumbling in Her Pursuit of Truth
by Christopher Correa in DanceViewTimes 8/9/04

Press Quotes

"Mary Armentrout is a choreographer of keen perception and sharp intelligence. As an artist, her pieces are witty and wonderfully theatrical - yet they also explore important ideas. Unfortunately, she is not very prolific, so this premiere should be a real treat. The site-specific "the woman invisible to herself" explores issues around identity even as it questions the very nature of performance - as a state of being and as a theatrical practice. Armentrout structured woman as a solo for herself - and for Natalie Green, Nol Simonse, and Frances Rosario. It will be performed for small audiences at sunset in and around her studio, the Milkbar in East Oakland."
- Rita Felciano, The SF Bay Guardian, 9/15/10

"Should you happen to visit Mary Armentrout's Web site, be prepared for a mess. I don't mean teenage-bedroom mess. No, this is serious. Greeting you on her Contact page will be the detritus of what looks like a major earthquake. But then, that's what Armentrout is all about. She ambles through life's leftovers and finds humor, poignancy, or, at the very least, an excuse to make something new out of them. I mean, who else would start a salon in a former biscuit factory across the street from the Mother's Cookies factory and call it Milk Bar? (Armentrout is also the force behind CounterPULSE's series of conversations about dance on second Sundays.) Her sense of humor is as much verbal as visual and kinetic. But behind that facade of mirthful disdain and nonchalance is a finely honed sensibility that manages - or at least attempts - to reconcile some of life's more complicated conundrums, often in regard to relationships. Armentrout works on a small, intimate scale. Maybe that's why, although she has been lurking on the periphery of Bay Area dance for nearly a decade, her work is not better known." 
- Rita Felciano, The SF Bay Guardian, 10/31/07

"Mary Armentrout is a performance artist of tremendous range. She utilizes body language as well as verbal acuity: both vocabularies are so carefully attuned and so delicately melded, she seems to be inventing a new kind of dance theatre before our eyes. It's exhausting to behold, and clearly it's difficult to achieve..." 
- Christopher Correa, DanceViewTimes, 8/9/04

"Mary Armentrout's dance-theater takes place in the fertile ground where dance, performance, imagery, theater, music, social commentary and personal idiosyncrasies all meet. I first say her work several years ago and have been drawn since then to her wit, her inventive and unconventional movement and imagery, and her skill at going beneath the surface to the collective insecurity and awkwardness that we so often hide." 
- Charlotte Shoemaker, DanceViewTimes, 11/14/05

"Armentrout looks at the universe through cracked glasses that allow her to see relationships and physical forces in a way that throws logic out a speeding car's window - but lets in the dust, detritus, and leftover flavors of human nuttiness and fallibility. And she does it in a manner that's completely her own and entertaining if you just listen and look carefully enough." 
- Rita Felciano, The SF Bay Guardian, 7/28/04

"Each of these characters is as fully realized as one out of Pinter's playbook. The trick is, they're all the same person-or rather, they are all portrayed by one Mary Armentrout. As evinced by her "dance theater installation," titled "Solo Musings on Complicated Topics in a Surreal World," the schizophrenic manifestations that occupied little Sally Field in "Sybil" have nothing on the prism of personalities swirling around in Armentrout's head." 
- Christopher Correa, DanceViewTimes, 8/9/04

"... a quirky, idiosyncratic choreographer who assembles works that appear illogical on the surface - but somehow her twisted humor, comic timing, and odd use of furniture and bodies coalesce into meaningful dance." 
- Rita Felciano, East Bay Monthly, 9/04

"Mary Armentrout can look like she's up to little when she's hanging off a chair and throwing shoes around, but through her deceptively simple performances she can conjure up more philosophical questions than a freshman survey course." 
- Ann Murphy, The East Bay Express, 6/1/01

"A newcomer to Mary Armentrout's work might conclude that she is, to put it mildly, out there. I can attest to the fact that while Armentrout is out there, she knows what she's doing." 
- Sima Belmar, "Critic's Pick," The SF Bay Guardian, 5/30/01

"Dance fans expecting to be entertained by pretty ballerinas in pink tutus should be wary of Mary Armentrout's choreography. Her theatrical pieces might shock traditionalists unaccustomed to something as quirky as 1999's "Trash Dance Accumulation #1," a performance installation during which Armentrout metaphorically explored the complications of daily life by weaving her way through a maze of rubbish." 
- Lisa Hom, SF Weekly, 5/8/02

"You have to be willing to let go of preconceptions of normalcy when you go to a Mary Armentrout Dance Theater concert. Armentrout has a skewed and often hilarious perspective on the ordinary, as evidenced by last year's "Psychopathology of Everyday Life." Armentrout likes to strip away the layers of pretense, contradictions, and obsessions in which we wrap ourselves and that inevitably screw up our relationships, (... and) she does so with an understated, deadpan sense of humor." 
- Rita Felciano, "Critic's Pick," The SF Bay Guardian, 5/8/02

"... what's funny and what's funny... It's a delicate balance to integrate the two, and thrilling to witness when carefully executed, as the "dance theatre installation artist" Mary Armentrout demonstrated last July in her one-woman show entitled "Solo Musings." 
-Christopher Correa, DanceViewTimes, 10/12/04