CAROLINE PALMER SAYS 'DIFFERENT AFTER THIS' "BLAZES" WITH ENERGY

BIGDANCETOWN

" Their new piece, “Different After This,” performed at the Southern Theater last weekend, is built upon the subtle intimacy between the long-time creative partners. During the Saturday afternoon performance it was easy to lose track of where one performer began and the other ended– their mind-meld manifests through the physical form.

"The names are never explained, nor do they need to be. To make a guess, the characterizations suggest states of energy, interchangeable between the women. They take seriously their tasks and do so with fire – one that simmers or crackles or blazes.

"Copeland and Muench demonstrate how deeply they tap into one another’s beings to create a fascinating world onstage, relying on nothing more than the rigor and fervor of their presence."

MEGAN MAYER NOTES REFERENCES TO CLASSIC FEMININITY IN 'STATE OF THE MOON ADDRESS '

WALKERART.ORG'S FOURTH WALL

"The choreography was dense with clever, gestural material: a quick listening to the ground, scratching twitches, precise hands near the face, forearms sticking to the ground as if they were magnetized in a curious manner, bent forward at the waist and traversing backwards on deliberately placed hands and feet in unison, laying on their sides with their backs to us in quivering lumps.

"During a slick commercial portion of the soundscore, they were able to morph their expressions in a matter of seconds: I saw Jane Fonda’s Barbarella’s confident stare, the spasmic grin of Max Headroom, Betty Boop’s smooshy pout and, Wile E Coyote’s predatory sideways glance."

MATTHEW A. EVERETT CALLS 'A ROLLING THOUGHT MY SISTER FLUNG A CENTURY AGO' A "CLASS ACT"

TC DAILY PLANET

"They managed to use every inch of the playing space, as well as the crowded entryways, without ever causing the audience to worry they might get kicked in the head. The piece was a thrilling example of two people absolutely in synch with one another. Whether the moves were identical, one following or working in opposition to the other, the dance was precise and full of real joy. No music, just the sound of their feet and their breath, loud or soft, as they worked through their moves. An interlude in the middle with the two dancers hanging out, often twined together in some way on the floor, whispering things to each other that only they could truly hear, was beguiling in its intimacy and innocent quality. A class act from start to finish. I look forward to seeing more from them."