06 Nov


“Josie Walsh is a remarkably creative and original choreographer, her work deserves to be widely known”
-Lewis Segal- Los Angeles Times Dance Critic

Los Angeles Times: “Faces to watch 2014

Steamy, sensuous and seriously high-flying – in every sense of the word – with gorgeous aerial ballets, cutting edge choreography and breathtaking visuals guaranteed to stimulate the senses.
– Victoria Looseleaf, regular contributor to the Los Angeles Times and freelance arts journalist.

“Josie Walsh’s work is transforming the way we think about movement in dance and particularly ballet. It’s almost as though she has come up with an entirely new dance vocabulary. Her choreography takes you on a mesmerizing journey which tickles the imagination. Ballet RED is exactly what Los Angeles needs!”>
Music Center Director
Spotlight Program

“Josie Walsh is one of the most vital, talented,and original artists in her field of choreography and dance today.She constantly amazes”.
-Elliott Gould-Actor


When this video by Jealous Angel popped up on my news feed today, I was intrigued. I mean, it’s called, “Get UR Ballet On.” It’s so strange, yet so awesome. It’s basically a mix of Twilight, risqué ballerinas and rock music.  Here are some of my favorite lyrics: “Get your ballet on, get your ballet on, get your ballet on—brisé, volé!” And let’s not forget: “Chassé piqué…brisé volé…chassé piqué…fouetté fouetté!”

Awesome, right? What’s even more awesome are the dancers—the girls perform the entire video in one pointe shoe and one stiletto! Choreographed by Josie Walsh, who has danced with The Joffrey Ballet, Zurich Ballet and Oregon Ballet Theatre, the movement is super-technical and well executed.
Dance Spirit Review

The Secret Garden at the Granada Theatre
State Street Ballet Presented Josie Walsh’s Original Work on Saturday, February 25

Monday, February 27, 2012

Sometimes, a rose is just a rose. On Saturday night at the Granada, though, a rose was much more. For the world premiere performance of director/choreographer Josie Walsh’s The Secret Garden, State Street Ballet brought Frances Hodgson Burnett’s classic novel to life with a swirling mix of stylistic, sonic, and visual dichotomies that worked together to stunning effect.

An adventurous hybrid of contemporary and classical dance, Walsh’s Garden sprouted in the first act in the hands of Season Winquest. As Mary, the tale’s young and orphaned protagonist, Winquest relayed pain and fear with a series of heavy, mostly floor-bound, turned-out movements, and later embodied the role of a wide-eyed and adventure-seeking youngster with a number of lithe and light-as-a-feather leaps and passes.

Against a collection of animated video projections by David Bazemore, which worked in place of any actual sets, the dancers were free to occupy the Granada’s entire stage, and in large group dances the space was used in full. Both Act One’s “Butterflies” and “Maze” scenes were of special note, beautifully occupying a world that was part classical ballet, part modern dance. For “Butterflies,” nine dancers emerged from a collection of taut, parachute-like cocoons, seamlessly interweaving sexy flexed-feet partner work with hyper-feminine flight runs. Similarly, “Maze” made for an intricate game of interlocking arms and squared-off shoulders. Together, the dancers twisted and morphed their human labyrinth into myriad positions, allowing Winquest to pass and backpedal through the garden’s mysterious paths.
The Secret Garden at the Granada Theatre
Of equally impressive note was costume designers A. Christina Giannini and Anaya Cullen’s contributions to the scene; both male and female dancers were equipped with large headdresses that appeared to be made of brambles, and the females donned similarly molded bustles, creating outfits that simultaneously evoked visions of steampunk warriors and topiary hornets.

Not long after, dancers Bonnie Crotzer, Lelia Drake, and Kaori Takai donned black unitards and headpieces to create “Keylock,” a hyper-sexualized and undeniably contemporary dance that found the trio crouching low with turned out feet and hands clenched in tight fists, moving spider-like to a bassy soundtrack of electronic beats.

Not surprisingly, Garden’s most compelling moments came when Mary, Dickon (smartly and playfully embodied by Ryan Camou), and the once-crippled Colin (Jack Stewart, who delivered some of the night’s most impressive and expressive scenes) left the confines of the manor and headed out into nature. In the second act, the garden afforded all three the chance to interact with a tree “built” of dancers, who took to the stage on each other’s shoulders and “grew” by way of intricate twists, lifts, and gymnastic feats.

The unsung hero of Garden’s ambitious team was composer Paul Rivera Jr., whose original score guided the story with an emotive and enjoyably forward-thinking mix of acoustic guitar ballads, pulsing house beats, and neatly arranged classical piano. Intermixed with the sparse-but-crucial use of found sounds, the soundtrack worked wonders alongside Walsh’s hybridized choreography.

For the finale, every element of Walsh’s vision came to glowing light, as dancers lifted, leapt, and passed through a dazzling sea of human flowers against a backdrop of sprouting seedlings and bright blossoms. As Lillius, Angela Rebelo blossomed before our eyes, commanding the stage in rose-colored garb and a glinting headpiece as her fellow dancers mimed lotus flowers with their hands. Together, the group created a rose garden of dramatic proportions and delivered a fast-paced, intricate, and propulsive end to a truly visionary night at the Granada.

It is rare to find a show that has both shades of Ministry and Cirque du Soleil, but MyoKyo Productions has successfully blended elements of industrial hard rock and acrobatic aerials in a refreshing dance performance that offers a unique interpretation of the journey of humankind since the Garden of Eden. Presented in a series of vignettes, the performance begins with a trancelike temptation of Eve, who is presented in duality as both Earth Eve (Josie Walsh) and Spirit Eve (Maude Maggart). Duality remains a theme throughout the performance, showing up in Walsh’s choreography, Kiyomi Hara’s costumes, Justin Huen’s lighting and Paul Rivera’s set design. Rivera also doubles as the Creator, a dark, puppet-master-like figure on stilts who is featured on lead guitar and vocals and looks like he ws plucked off of the cover of Izzy Stradlin’s first (and only) album with the Ju Ju Hounds. As the other featured vocalist, special guest Maggart showcases her beautiful voice in the piece. Walsh’s direction is crisp, effectively using simultaneity without compromising clarity, and her choreography is innovative, highlighting the atheleticism of dancers in the company.
– L.A. Weekly Theater Critics, May 31, 2006

Fusing aerial acrobatics and gymnastics with edgy pointe work best described as “extreme ballet,” Los Angeles-based artistic director/choreographer Josie Walsh creates mini-Vegas-like extravaganzas with her six-year-old Myo Dance Company. A former Joffrey Ballet and Zurich Ballet dancer, Walsh has an additional weapon in her creative arsenal: Husband Paul Rivera fronts an industrial rock band, Kyo, grinding out guitar licks perched on a pair of stilts. This spring in Hollywood, her 20-member troupe performs The Garden of Reason, a “non-linear journey through the mind.” Walsh, who also teaches and is choreographing Tinker Bell for Disney, says, “We’re dance-based but use circus arts to enhance choreographic opportunities— and to defy gravity.
– Victoria Looseleaf, Dance Magazine, January, 2006

A Hidden Gem
– Dance Spirit Magazine, November 2004

This is hot. Like Cirque du Soleil, only sexier.
– Jillian Barberie, Good Day Live

multidisciplinary, high-energy ‘Avalon’ is an onstage stadium spectacle….big ambitions and plenty of talent to realize them.
– Lewis Segal, L.A. Times Dance Critic

Garden of Reason’s cutting-edge mentality and creativity sizzles with raw energy and seductiveness.
– Elliott Gould, Actor

Extravaganza. Former Joffrey Ballet dancer Josie Walsh has a taste and talent for it-plus a knack for juxtaposing ballet, gymnastics, aerial acrobatics and hard-edged rock dancing in propulsive showpiece choreography.
– Lewis Segal, L.A. Times Dance Critic

A feast of originality, provocative and whimsical. A must See!
– Alan Ladd Jr., Producer

Garden of Reason” an edgy amalgam of dance theatrics and progressive rock performance was nothing short of amazing. I found myself rocking without guilt, and admiring the provocative, very original choreography from the dance/acrobatics MYO Company.
– Aaron Stipkovich, Publisher/CEO Buzzine Magazine

The energy and excitement of this production has you in its grasp from beginning to end! … It’s done with such an incredible display of dance, drama, circus arts, and original music… it’s simply beautiful and the cast is so extremely talented, there are aerial stunts, martial arts, ballet, a little hip-hop, and it really rocks!
– Kari Steele, KBIG 104.3

Fiercely compelling: thrilling demonstrations of prowess.
– Lewis Segal, L.A. Times Dance Critic