Press Excerpts

“A warning should be noted: This work can be, at times, uncomfortable to witness…
 grappling with exposure of real self to the unreal world…as if blindly searching for the truth.”

                                                                                                      — Mary Ann Rund, St. Louis Post-Dispatch


 " Another Highlight was December, a solo by David Marchant of Washington University in St. Louis, who instructed the audience to listen to the sound score, the sound of breathing, and to close their eyes on every exhale and open them  on every inhale.  The result was an organic strobe effect that Marchant used brilliantly."

                                                                                                                            — Shelley Maser, Dance Magazine

"...a marvel of ingenuity....  If you did it right, you experienced an odd strobe effect....  When your eyes opened, his position had changed. He made a rose "disappear," then reappear and then die." — Sally Cragin, Riverfront Times


" of the true standouts was Marchant’s “December,” a piece, that at least to this reviewer, read as cyclical – indicative not only of the seasons, but of one’s life. Beginning at front left stage, Marchant worked his way around to wind up under snowfall, first fearful, then embracing it, before returning to front left to seemingly open a door to the unknown.

The key to his evocative performance, however, was the audience participation; the soundtrack played inhales and exhales, code for opening and shutting one’s eyes, respectively. And there was an added effect: As the visceral breathing increased and decreased in tempo, the emotional associated with those kicked in—fear, calm, peace, frustration. As the audience looked on when cued, the performance became a series of moving photographs, glimpses from a life—and only those which Marchant chose to share with them."

--Krystin Arenson, Alive Magazine

Losing Hi(s)tory 

 “What would it be like to live life backwards, seeing the past as the future? …moving and speaking his impressive text…David Marchant took that voyage to chilling, unforgettable effect in ‘Losing Hi(s)tory’”

                                                                                      — Jennifer Dunning, Dance Critic for the New York Times

“This piece confirms the high wit of Marchant and supports the intelligence of his work. His inimitable style abandons verticality, trusting the laws of physics for equilibrium.” — Mary Ann Rund, St. Louis Post-Dispatch

“… the second section of dance is a symmetrical reverse of the first, even down to a counterclockwise run about the stage to match an earlier clockwise run.  Framed in between is a long, beautifully spoken, ingenious conceit that the dance lyrically mimes.  Marchant seemed as subdued as the lighting he chose, but ‘Hi(s)tory’ is actually a tour de force of performance art—costly of emotion and experience…” — Harry Weber, Riverfront Times

Atrek Contemporary Dance: Decadance

"...the troupe exemplifies what's exciting, innovative and emotionally resonant about modern dance."
Angela Culbertson de Benevides, David Marchant, and guest performer Janis Brenner simply dazzle..."--Sally Cragin, Riverfront Times

Right Through You

"Benevides and Marchant squared off and then marched, strode or actually ran at each other before ricocheting. Violent and passionate each time, once was a surprise, five times was unsettling and a dozen times was just hypnotic..." --Sally Cragin, Riverfront Times

"Particularly effective was Right Through You...  The dynamics of combining percussion accompaniment with what appeared to be simply walking and body-slamming developed into an exciting and complex performance." --Nathalie Le Vine

Naked: an evening of Improvisations

"Culbertson and Marchant have incredible presence.  They both have an "aura" about them that is more than just the sum of their talent and Physical proportions."

We’re All Naked Under Our Clothes

“…the best received piece of the evening…a pedestrian mix of modern, jazz, and strength, Marchant’s laughable yet pitiable character entered carrying a small suitcase…In a Willy Lohman-esque way, the suitcase was a metaphor for life: The emptier it got the more of burden it was to carry.”
— The Daily Iowan


“…an impressive solo, BitterSuite…countered weighty, speedy, masculine moves with exquisitely sensitive hand and arm moves… The result was striking….”
— St. Louis Post-Dispatch

“Here was a depth that was soulful and moving…Earthbound, intense and precise… each movement lingered as if creating ripples in my mind that kept repeating even after it was finished.”
— Jan Eigner, Intermission

Life Boat

“Other Highlights included… ‘Life Boat,’ created and performed by a sharply precise Mr. Marchant and by Angel Mendez, whose big, powerful body moved like melting taffy.” 

                                                                                 — Jennifer Dunning, Dance Critic for the New York Times

 “Life Boat, …a highly charged pas de deux for men…[Marchant and Mendez] danced it full-out in a tense, restrained manner that made it all the more powerful.” — Harry Weber, Riverfront Times

 “…Marchant communicates eloquently through his dance and choreography.  His body speaks articulately and his compositions are structured with a similar precision.  The lasting impression [of Life Boat] however, was not the weight of the leap or the strength of the catch.  It was the lightness with which they moved and the gentleness with which they touched, that lingered.” — Jan Eigner, Intermission

Velvet Lullaby

 “His fingers moved, weaving soft, meandering designs in the air.  In random moments he lovingly cradled the unseen…the effect was profoundly tender and fleeting.” — Brenda Shoss, St. Louis Post-Dispatch

Nos In Unum

“In David Marchant's 'Nos in Unum,' detailed gestures accompanied lush fall-and-recover movements to suggest a theme of suffering and deliverance....  Maybe.  One is never sure about Marchant's work, since he typically invites audiences to interpret his dances from a personal perspective.  Movement-wise, Marchant's lean steps logically flowed from one to the other.  ...deftly executed.” — Brenda Shoss, St. Louis Post-Dispatch

“I am usually uncomfortable with dance set to liturgical music, but Marchant did more than simply respect the Gregorian chant and polyphony as music; he responded to the words of worship in the text.  ...powerful but controlled as the nun in contemplation that Wordsworth compares to a flag stretched taut in the wind.” — Harry Weber, the Riverfront Times

July 11, 2016

Spontaneous Choreography Workshop 2016

Utah Repertory Dance Theatre

In summer '16 I was on faculty along with Danielle Agami of Ate9 Dance Company, for Repertory Dance Theatre Summer Intensive.