Reviews of our Productions, Company and Artists

MUD

Read a complete review of MUD, by Jed Ryan

 

I really enjoyed the work – it’s a very masculine and amazing exploration of the soul, and the choreography is brilliant, as are the dancers.

-David Henry

"I am so proud of the work Prismatic does. They work to stretch the body, the soul, AND the mind and have managed to affect the lives of many people through their heartfelt pieces. I give this donation in honor of my cousin, John, who is so brave, and in hopes that Prismatic will be around for many years to come, spreading the message of love and acceptance!"

-Rachel Brookhart, Draper Consulting Group

John Ollom's work MUD, was more complicated than I expected it to be, and its final resolution was strong. Yes, much is beyond our control, even if we were not shackled with Victorian Dagwood-Blondie structures that continue to exist. Ollom's dance/play is thought provoking with invented characters. Many males, as hunters, find it difficult to be forever content in a relationship, and yet we seek a loving, caring stability. John Ollom presented splendidly natural inner turmoil, exasperated by natural homosexual drives and wounded or destroyed committed relationships.

Kendall Shaw - painter.

Internal Landscapes

John has an established and accomplished practice in dance theatre, in a movement technique he developed called Internal Landscapes, and is exploring intersections between movement practice, emotional authenticity, psychology and the social purpose of dance/movement.  One might say he is working with movement and dance as an emancipatory and transformational form.   His interests are already interdisciplinary, and his deep commitment to developing forms which can open minds around issues of homophobia, misogyny, intimacy and heterosexism make him an excellent addition to our community of artists.  As an established dancer, teacher and choreographer in NYC, John brings to our community the discipline of a seasoned practioner, and the determination of an artist unwilling to stand in one place.   His interest in challenging his practice and theory, his interdisciplinary interests, and especially his open and determination to take dance beyond aesthethics into meaningful social encounter that can make a difference in a variety of new locations, all demonstrate that he is an excellent fit with our program.  He has powerful questions.

-Pam Hall Faculty MFA in Interdisciplinary Art at Goddard College, Vermont

A healthy body is supposed to be orderly. Each organ operates with a certain predictability, developing a synergy with the other parts, and contributing to the success of the larger whole. But throw in a few unpredictables, from illness to a heavy emotional experience, and things can get tricky. Live III: Internal Landscapes, a performance piece created by choreographer John Ollom and painter/sculptor Amadeo Peñalver, explores this trickiness. In an ambitious work that incorporated dance, painting, music and video, the artists performed on October 20, 2007 in Peñalver's studio in Greenpoint, Brooklyn.

-Alex Palmer,LA Splash

Internal Landscapes has helped me recognize my own energy and potential.Not only about physical grace and agility, John Ollom's classes go straight to the human core, strengthening the invisible threads that link us all.

-Carla Seidl BA Harvard University 2011

Performance and Choreography Reviews: The Other Species

"People I talked to in the audience thought your work was BRILLIANT!"

Lisa Johnson, Music Program Director New York State Council on the Arts

"We have only received positive feedback in regard to the Faculty Performance, and several people have mentioned that it was the highlight of the conference. You were just amazing. You're a very talented man and I feel privileged to have had the opportunity to work with you."

- Brent Register, DMA Clarion University Honors Council Coordinator

Reviews of John Ollom as a TEACHER

"I have been meaning to find a way in telling and thanking you as one of my best teachers I have had and being a part of my New York experience. I had a great 3 years in NYC, part of it, not exaggerating, is because of your class. I began with Broadway Dance, but I hated dancing around the columns in the middle of the studio, and the people annoyed me there. Then Peridance, but the class fee was eating up my model material money. Your class was like an escape into a mental oasis!"

Dawn Ha, ballet student who moved to San Francisco

"I know I didn't think it was possible for me to learn ballet ever. You are always so generous and give everything- I feel so lucky to have found you! I really appreciate the time you took today with the upper body. I think I finally felt what you have been talking about for all of these three years. Thank you for being such an inspiring teacher and holding the vision and faith and desires that I sometimes lose sight of and always inviting in the perfection!"

Janet Aisawa, ballet student and the Amateur Division Champion after working with private coaching sessions with John

"Ballet is sooo difficult and I really did not realize it deeply until I came back here and faced up with many professionals. John Ollom is my beautiful inventor and gave me many hints of how to discover myself. I miss you!'

Miu, ballet student who moved to Tokyo, Japan

"I like Pilates, but it is NOT as good as the Ollom Floor Series"

Judy Bresnahan, Student of the Ollom Floor Series ©

Hey, I just wanted to tell you that I really appreciate your classes. The enviroment you create and healthy class structure!! You are awesome.

Alicia Stewart Professional Dancer with Kim Robards Dance Company and Annabella Gonzalez Dance Theatre; Swedish Institute trained massage therapist

On Oct. 14, 2009 I was bicycling to work—a clear day, morning, helmet, gloves, moving at a steady pace—when I felt a bump and became airborne.  I did a 180 degree summersault and landed with my feet in the direction I was heading, hit from behind.  I thought I would lie there for a bit, get up and suffer some aches and pains.  When I tried to get up the shooting pain in my left hip  told me that wasn’t to be.
 
X-rays at the hospital revealed a broken femur capital, the largest bone of the body, broken clean through.  The operation involved a 16 inch incision, a metal rod and 4 screws into the head of the femur.   I spent one week in the hospital and one week in a rehab unit learning to use crutches with zero weight bearing on the broken leg.  I could only leave the apartment for physical therapy and one month into the recovery I slipped on ice and fell on the hip again.
 
The second break started a downward spiral.  I actually got worse by the week.  The pain can’t be communicated—it didn’t stay in one spot but coursed up and down the leg.  It was five months before I could put any weight on the leg at all, then three months with a single supporting crutch, then three months on a cane.  The combination of being mid to late 50’s, gray hair, and hobbling on a cane was something I was unable to accept.  Worse, the surgeon told me I had a fifty-fifty chance of having a limp for the rest of my left.
 
I was always an active person.  I studied ballet for ten years in my youth, excelled at Tae-Quon-Do (was briefly on “The Wide World of Sports with Howard Cossell—my 15 seconds of fame) and was a long time member of the YMCA.  I went back to the Y as soon as I could, on crutches, using the machines.  One day I had a conversation with John Ollom in the steam room, having propped my single crutch against the wall, and explained what happened.  I told him  not only did I have the metal and pins but they also had cut the groin muscles to get enough of the femur out of my body to attach them.  He suggested I take the barre of his class.  It seems unimaginable at the time, but within months I was able to get enough flexibility to not make a spectacle of myself.
 

It has been two years now, and around nine months of classes.  I can do a full class—excepting jumps—and the leg and hip strength and overall flexibility exceeds the average person.  The ballet focuses on the very muscles I lost:  inner thigh, gluteus, stomach and lower back, feet and ankles.  Unlike physical therapy which concentrates on the damaged part of one’s body, this is a total body approach, including eye focus, confidence, inner and outer strength.  I tell people—behind his back mostly—that John has put me back together again, brought me back decades in strength.  But for that, I can let him add what he observes.

Galen Lee, Curator at the Frick Museum Nov. 7, 2011  

 
I'll be completing the evaluation forms for all your classes & wanted to let you know how much change they (& you & Jim) have brought into my life. 
 
After taking nearly two years of ballet, I see & feel the changes in my body, such as improved posture, coordination & skill level. Never dreamed it was possible (or even legal) for a tomboi like me to enter a ballet class. Thank you for your encouragement. 
 
It feels great to be back in class more often & to be building stamina to stay for some of the advanced Sunday class barre work. When I heal some more, I'd like to come back for the Saturday jazz class, even if I can only start out by doing part of it. And really feeling the difference in your Core Conditioning Ollom Floor Series as well. Hopefully will build up strength to do the 45 minute version that you may offer @ The Y soon.   
 
Thank you so much for being there as a teacher and friend. I want to acknowledge your mindfulness because I know from experience just how difficult it is to be truly present as a teacher, especially in a field you truly care about. It's important work. I think I speak for everyone in class when I say how much we all appreciate your presence & artistic gifts.  
 
Ellen Terry Hindt-Brands, Visual Artist and Dance Student
 
 

Reviews of John Ollom as ARTISTIC DIRECTOR

"Needless tosay I just wanted to commend the both of you as well as your company for being open to the prospect of late starters in ballet. I myself made the switch 4 months ago from collegiate basketball to ballet after wanting to dance, but not being afforded the chance due to views by my family of my dreams, for nearly 15 years. I was not only happy to see the support of grown men by a respected artistic director but even more so was the inspiration that it afforded me. I pursue everything I do with the utmost passion and ballet is no exception. Suffice it to say I was even more inspired after reading Mr. Ollom's bio on your company website and would like to inquire as to the possibility of visiting New York to privately work with Mr. Ollom."

Jeff Garza, Ballet student in Texas

Dancers Showcase. McBurney YMCA

On Wednesday May 23, the McBurney YMCA held its annual choreographer's Dance Showcase.

The performers of the evening included students from Legacy, MVA and LAB High School Hip Hop Programs stealing the show with their upbeat dance moves, Janelle Abbott and John Ollom performing "Side by Side" a ballet love story choreographed by John.

Town and Village,

Thursday May 31, 2007

Love Stories

"One of today's most exciting choreographers. Ollom's new pieces gorgeously celebrate diversity and courage."

David Noh, The New York Blade, Gay City News

John Ollom's 'The Journey'

"They say everyone has one novel in him. It's the fruit of a life's experience--the tale, the feelings. John Ollom certainly does, but he happens to be a choreographer. "The Journey"...is propelled by Ollom's sincerity and missionary zeal."

Tobi Tobias, Village Voice

5/14/04

John Ollom charts out new territory-somewhere south of ballet and west of modern-danced with flow and rhythm."

Annette Cyr, Documentary film maker, "Late Bloomers" (about John Ollom's Ballet classes)

"deeply moving, sensual and spiritual at the same time."

Mel White, director of Soulforce, minister and political activist

"very moving and enlightening. A vision of one man's truth transcending himself and becoming a mirror for us all."

Deborah Massell, DMA., Crane School of Music

"John Ollom has created nothing less than a gay epic in pure dance terms, a rich narrative which addresses our most important issues. With a sexual exhilaration not seen in quite some time."

David Noh, New York Blade News

"I can't stop thinking about your piece-it's so powerful. It's rare to see that kind of commitment on stage. Your vision and commitment to being in this world is so inspiring as your piece so masterfully says."

Janet Aisawa, co-choreographer for Fly by Night Dance Company

"There are two things that touched or moved me most: One is an overwhelming sense of your wonderful generosity of spirit...Your story touched me as a human one not a militant or political one. The second thing that moved me tonight is the wonderful physical language of your choreography ...your dance style and how it's conveyed not only in your performance but through the people you choose to work with as well. It's so wonderful to see dancers with supple bodies..that are human. That generosity of your spirit, your commitment to communicate above all- and find a way to express so many subtle, interior kinds of ideas, reactions, responses- is apparent in the wonderful group of people- dancers and actors you've assembled. Their respect for you and your work is clear by their commitment to each dance and scene. It was just great energy..the opening ballet with your wife, your lover, the struggle and resolution moved me to tears particularly, though not at all exclusively!"

Jonathan Dobin, composer

"You may or may not know it, but you've changed my life dramatically. I'm a better person after working on "the Journey" with you, it's an awesomely unexplainable feeling. "the Journey" has changed me for the better, and I love it. I've always felt like it's wrong to label people and judge them just because they're not exactly the same as you. "The Journey" was beautifully written and performed and taught the beauty of diversity. The message that I got was to accept people for who they are on the inside and to be understanding of things that are different. The show gave people hope, like they can achieve anything they want; that there is a light at the end of the tunnel, no matter how dark it may seem. Your show helped people understand and bring about awareness that these things do happen, but we can help."

Maria DelRusso, dancer in the cast of "the Journey"

Anatomy of Woman

"The four pieces from "the Yellow Dress" reflected four different experiences of women, or four different phases of experiences of the same woman. All four of your women protagonists were strong in presence, dramatic expression as well as dance performance-though strongest and most interesting and developed choreography I thought was in "Homeostasis". John and Janelle know deeply, intuitively and physically, how to click into and weave with each other."

Theresa Herron, Arts Cure

"I love your choreography, even though it is sooooo difficult. It's so beautiful, because the movement and the emotions of the pieces are one, it's so satisfying to dance that way. It's really modern dance with ballet vocabulary."

Janet Aisawa, co-choreographer Fly By Night Dance Company

Ollom Dance Theater. On Tour. Easton, Pa

"Let me just say how much I very much enjoyed your choreography- it maintained that wonderful sense of classical but presented in a uniquely fresh and witty form."

Sebastien Balzac, Professional Dancer for Freespace Dancer and Pilobolus

Reviews from the Ballet Builder's produced "Previews" at the 92nd St Y

"Homeostasis" is a good wedding of movement and music!""emotionally satisfying!"

Audience member

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