Languor and sexual tension hinted at a dystopian world—the dancers in slacks and dress shirts were like young business professionals cracking up under pressure. In (serious) . . . rare moments of stillness came like breeze in an airless room.
-Santa Barbara Independent

Dressed anonymously alike in oxford shirts and slacks (costumes by Sandra Woodall), the three barely acknowledged one another even when together. Perry, a wiry and lightning fast dancer, was odd man out initially, while DaSilva and Hartley shared an emotionless duet. The final section tied it and them together, with the three dancers facing one another in a triangle. They launched into a pas de trois of magnetic attraction and opposing, repellent force. In a last graceful gesture, DaSilva leapt high into their arms and they stood sculpture-like and precarious, a clump of humanity.
-Los Angeles Times

Audience members can see the music, hear the dancers and occasionally feel it under our own skin.
-Los Angeles Times

The dancers left the comfort of unison poses with a jerk, but then inevitably returned to the collective. Rat-a-tat-tat robotic phrases ended in unwary stillness.
-Los Angeles Times

McIntyre's approach to dance is ingrained in classical technique and movement, but (with (serious)) he is moving into new territory.
-Idaho Statesman