Press

Where are the Women Leaders? Try California.

August 15, 2014

Hope included in Wendy Perron’s  list of women leaders in California dance.

Full article here.

“burnt itself into your retina and your soul”

April 18, 2014

[T]ransparent [dances] because of the clarity and intensity that these fabulous dancers brought to their tasks. Their presence burnt itself into your retina and your soul…..[ridetherhythm] approached pure music in the way fractured language rose into a chorus to retreat again into individual voices… It’s rare that dancers become truly expert at delivering words and movement; Mohr’s troupe was first-rate in both.

-Rita Felciano, “Think Again: Three Provocative Premieres,” S.F. Bay Guardian, April 16, 2014

dance as a vehicle for questioning

April 18, 2014

Mohr continues to subtract the layers of inherited models in order to articulate her artistic voice. In her many roles as a writer, performer and choreographer, she questions the process of art making and the essence of an artwork with a rigorous dedication to the choreographic craft. Her dances offer spare but meticulous compositions where both body and space become a laboratory for research and inquiry about what it means to make art and how it relates to our lives.

-Marie Tollon, “Dance as a Vehicle for Questioning,” tripledogdare, April 3, 2014

“highly experimental and consistently refreshing”

December 10, 2013

Expect a blend of shrewd concepts and innovative, improvised movement in the metrics of intimacy, a collaboration between choreographers Christian Burns and Hope Mohr. If this sounds like some stuffy, high-art performance piece, think again. Burns’ work is intelligent, accessible, and often surprisingly funny. His unique combination of impulsive performance quality and calm confidence make him and his company, burnsWORK, one of the most original dance voices in the Bay Area. He choreographs and performs the metrics of intimacy alongside Hope Mohr, artistic director of Hope Mohr Dance, whose focus on the creative process is highly experimental and consistently refreshing. Both Burns and Mohr have backgrounds in classical ballet (Burns trained at The School of American Ballet in New York City and Mohr, a San Francisco native, trained at The San Francisco Ballet School) which gives their work a certain clarity that can often be undervalued in contemporary dance. The results are choreography that’s both poignant and viewer-friendly. The work is performed at The Garage, an underground venue so cozy you might end up practically sitting on someone’s lap — the perfect place to observe the capabilities of the human body.

— Laura Jaye Cramer, S.F. Weekly, December 3, 2013

the moment of individuation when we learn to speak

October 11, 2013

“In plenty of dance theater, it’s common for performers to move and speak. It’s hard to do well and it’s a complicated relationship. I’m interested in the nuance of it, the details of it, what makes it work or not work. There’s a moment of individuation that happens when we learn to speak. It’s a pivotal moment in the development of us all.”

-Wallace Baine, “San Francisco Dance Troupe Explores Language and Movement,” Santa Cruz Sentinel, Sept. 25, 2013

Full article here.

“meticulously constructed”

October 11, 2013

“Mohr… is cool, cerebral, and theory-driven. Her recent Failure of the Sign is the Sign was meticulously constructed…”

-Irene Hsiao, Let’s Put on a Show,” S.F. Weekly, August 14, 2013

Full article here

radio interview with Hope and Henry Hung about jazz collaboration

June 4, 2013

Open Air, host David Latulippe talks to  Hope Mohr, one of the Bay Area’s best contemporary dance makers, about her home season at ODC.  Open Air with David Latulippe, originally broadcast on April 3, 2014 at 1pm. Listen now or anytime…begin listening at minute 25.

-David Latulippe, “Open Air“, April 3rd, 2014

funneling sensation into speech

May 29, 2013

I’ve always been interested in brain and body in conversation or in antagonism. I’m a dancer, but I’m also a writer…For this piece, I wanted to focus on the moment when we learn to speak…and investigate that experience of funneling sensation into speech as an archetypal transition into selfhood.

-Mary Ellen Hunt, S.F. Chronicle, May 2, 2013

To read the article, click here.

 

theory and practice

May 29, 2013

The set design by Katrina Rodabaugh is extraordinary: Strung from the ceiling are jagged branches hung with exposed incandescent light bulbs, soft sculptures in soft blue in the shapes of a castle on a planet, trees sprouting from a whale, and organs, soft organs: lungs, heart, pancreas. Tegan Schwab, swaddled in long blue tubes, rolls fetally, larvally, the tips of her fingers and toes making light contact with the bare wood floor…The six dancers proceed with the hunger and animal investigation of children, test gravity with repeated jumps, wrap themselves in the soft blue shapes, try out their voices with monosyllables, then repeatedly group themselves into tense sculptures that strain the limits of the arms and legs to hold (“Form is different than feeling,” says the voice on the soundtrack, a long poem written by Mohr cut in with voices singing in clear tones, children babbling, the oceanic swish of the intestines)…Schwab explodes through an astonishing solo that mimics the way sounds deform space…

Irene Hsiao, “Theory and Practice,” S.F. Weekly, May 7, 2013

To read the full review click here.

 

rigor of the mind and body

May 29, 2013

[In Failure of the Sign is the Sign],  pleasure and rigor is also expressed in the product:

The soft blue sculpture intertwined with performer Tegan Schwab’s limbs. Pleasure.

The calculated structures of bodies tethered and released in balanced support. Rigor.

-Julie Potter, “Rigor of the Mind and Body,” Triple Dog Dare, April 17, 2013

To read the full article, click here.