“What subversive choreographer Lisa Fagan is selling, were buying. ”

“CHILD’s show, 1-800-3592-113592, is the most blissed out, beautifully constructed weirdness I’ve seen in ages; skibidi vibes meets Jersey mall culture meets Maggie Rogers-esque rock gorgeosity. Only 1 more weekend…a pure contact with the Stranger God”

“The High Weird...the performers’ muscularity and skewed humor kept the absurdity twanging, kind of dangerously. The show could have just felt like “ah, this is fun & nuts,” but instead I was scared for my life.”

“In an impressive feat, Fagan has performers remove clapboards from Normandy Sherwood’s set; they place long planks atop their heads, and then place purchases—shoes, necklaces, shopping bags that descend from on high—atop the planks. Oh, and the performers are wearing zebra onesies...The gesture—childish, communal, primordial—deeply moved me. It was intimate, not at all sterile. Walking out of the theater, the lobby reeked. It smelled like the opposite of a mall.”

“Lisa Fagan is the most interesting movement maker in town.”

““...threads post modern cool with cabaret-like showiness.””

“Exponential also programmed choreographer Lisa Fagan’s Red Carrots, a dance-theatre piece that was the most completely delightful thing I saw in the festivals. It was dada lite, with dancers crawling around whispering things we couldn’t quite hear, throwing vegetables around, and doing monologues that were mostly suspicious commentaries on how everyone else around them was doing. It was a chopped-up four-woman portrait of a very familiar feeling: Does everyone else know what’s going on?

Appropriately, it was the last festival show I saw. Because does everyone else know what’s going on? Maybe I’ll figure it out next year.”

“...an uproariously funny piece of dance theater... a song worthy of Broadway. ”