top of page

What the critics have said . . .

Selected Dance Reviews

“Margaret Morrison—a paragon of exacting control and cool theatricality—began her [Willow Weep For Me] with a mannered stroll, delicately drawing a fine, clickety line through the spaciousness of Theo Hill’s piano plinks.  To watch her was to sit up tall and vow to get your life in order.”  

Eva Yaa Asantewaa, Dance Magazine, October 2007


“Margaret Morrison’s meditative jazz solo took us into a landscape of shifting moods and tempi.” 

Sali Ann Kriegsman,, July 30, 2007


“ . . . the feather footed, musically astute Margaret Morrison and the Bay Area Dance Company.”

Jennifer Dunning, New York Times, July 17, 2007


“The highlights of the evening were tapper Margaret Morrison’s expressive and wonderfully musical interpretation of ‘It Ain’t Necessarily So’ . . .”

Lisa Jo Sagolla, Back Stage, July 24, 2006


“Margaret Morrison . . . set her “Dreams of What Could Be” to Thelonious Monk’s “Round Midnight.”  Twelve dancers [the Barnard/Columbia Tap Ensemble], accompanied by the Tricia Woods Trio, clicked their way through percussive and lyrical turns with endearing ease. . . . Ms. Morrison’s admirable uncomplicated material allowed the cast to shine.”

Gia Kourlas, New York Times, April 6, 2005


“. . . Dreams of What Could Be, swirled a dozen lively dancers of varying levels of expertise into lively . . . patterns.”  

Deborah Jowitt, Village Voice, April 4, 2005


“Morrison and her collaborators [in Body of Rhythm] are on the cutting edge of transforming tap . . . while honoring the classic tap styles and choreography of the past. . . .  The audience’s standing ovation proved the success of this challenging endeavor.  This trio of dancers not only can dance up a storm, they are also accomplished jazz dance stylists as well as percussionists.  Together they create visual music.”  

Marsha Wagner, Sanibel Captiva Islander, February 2003


“[In Morrison’s one-woman show] . . . her sense of rhythms and improvisations are astounding.  She has added a studied, natural and unforced use of the top torso and arms.  Her choreography does not specialize in terrific tricks or passages that are built solely for applause.  But it does concentrate on the innovative use of the sounds of her taps in a way that is exciting to the ears and satisfies our expectations for the unexpected rhythmic impulses of innovative tap dancing.”  

Frank Wagner, Sanibel Captiva Islander, January 1998 


“Margaret Morrison’s “How Little We Know” was a tour de force for a quietly exciting virtuoso dancer. . . .  “New Orleans,” a duet choreographed and performed by Ms. Tribble and Ms. Morrison, was a witty highlight of the evening, full of casual squat-bodied travel and sly exchanges of looks and conversational commentary by chattering feet.” 

Jennifer Dunning, New York Times, December 3, 1990

bottom of page