Press

The arc blog

In the work, I explore subjects like support and “people first language.” What does it mean to support individuals with I/DD and then in return, how does that support translate into those individuals supporting themselves? The piece also focuses on people first, rather than labeling by an individual’s disability. I want my message to be positive and uplifting to every individual. Dance is universal and has no limits. This project has reinforced my belief the dance can bring people together, no matter their age, background, ability, experience, profession or skill level.

Review: just be 2015

There’s a freedom in the proprioception of the company of dancers, as well as their individual fearlessness and strength of performance quality.

South African State Theatre News

In “Propelling Voice,” stark and imaginative scenic design by Levine provides a platform for Quinn’s daring and athletic movement. If you are into contemporary dance, make sure not to miss this storytelling fuse of the two worlds expressed through captivating athleticism.

Review: propelling voice 2017

The transitions between the two groups of dancers was seamless, as were the transitions in the choreography. Quinn seems to be a huge fan of partnering, frequently incorporating different coupling combinations throughout the piece. Her dancers proved highly capable of fluidly sharing weight during contact partnering that moved over and around the dodecahedrons. It wasn’t only the physical connections that were impactful during the performance, but the visual connections as well. Every performer on the stage was aware of their surroundings, and of their fellow dancers. Even from my seat, I witnessed the eye-contact exchanges.

Review: garage sale (2018)

Moments of unison with the full cast are rare, yet the group appears strongest when moving together when they create striking, whole-body lines amplified by the group. Their technical strength and beautiful ease become even more pleasing.