"Charlotte boye-Christensen has a choreographic knack that transcends medium....Rhythmic finesse, whimsy and a gift for conciseness make Christensen's dance images delightfully unique...wherever they're seen." (Dance magazine)

"Powerfully expressive..." (Politiken. Denmark)

“The most impressive element of the work by Salt Lake City performance company NOW-ID, ...is the company’s scope of artistic vision... no other work of art in Salt Lake City brought together as many artists and disciplines as this performance. Based around movement choreography by Boye-Christensen, Nowhere included works of original music, light design, film, performance art and an on-site sound installation.” (City Weekly) 


"Dynamic, sensual "Rite of Spring" - a poem of choreography." (Salt Lake Tribune)

"Boye-Christensen shows in her works an infectious vitality and a rare gift for inventive moves." (The Cincinnati enquirer)

"Fine sharp lines in a consistently impactful choreography..." (Berlingske tidende, Denmark)

"CBC's choreography is amazingly complex, and the gestural vocabulary she has developed in combination with her explosive movement style tells a unique story within each piece." (Salt Lake Tribune)


"Charlotte Boye-Christensen continues to keep modern dance in Utah genuinely avant-garde. But for all that innovation is now to be expected at the Rose Wagner Performing Art Center, the precise form such innovation will take, thanks to the work of a truly critical choreographer, remains ever unpredictable." 
(Slug Magazine)


"An abstract contemporary piece of choreography that dares to be outgoing and present." (BT, Denmark)


"In Ms. Boye-Christensen’s “Walls,” 10 dancers perform in rigorous unison... moving with hypnotic fervor, falling in and out of one line only to form another." (New York Times)


"Boye-Christensen's "Row" was darkly intense without ever becoming self-indulgent. This is a piece that should be kept by Ballet West to challenge the dancers stylistically and challenge audiences' ideas about neoclassical repertory. The men were sexy and dynamic, and the women strong and feminine — a wildly unique contrast of qualities." (Salt Lake Tribune)

"Conversations," Danish choreographer Charlotte Boye-Christensen's whimsical piece, evoked playfulness... the lean, delicate dancers, perfectly in sync... making nearly impossible dance moves performed on toe look completely effortless" (Milwaukee.com)


"It’s not the first time that Boye-Christensen has been honored by CW readers. In fact, it’s not the second, either. The thing is, year in and year out, the Denmark native and artistic director of Ririe-Woodbury Dance Company creates and stages groundbreaking, entertaining choreography. Touching Fire—which was a collaboration featuring the words of author David Kranes and the stage design of architect Nathan Webster—played with the ideas of fear, reflection and illumination in a way that brilliantly pushed the limits of the modern-dance form." (City Weekly)

 

"BEST CHOREOGRAPHY Charlotte Boye-Christensen: But Seriously Just in case you haven’t been paying close attention, Boye-Christensen has become the annual favorite for winning this particular award. Ever since the Denmark native arrived here to take over as artistic director for the Ririe-Woodbury Dance Company, she has been creating celebrated, groundbreaking work for Utah audiences. In typical collaborative style, But Seriously saw her pair up with actor and comedian Ethan Philips, author David Kranes and architect Nathan Webster. As a bit of a mixed blessing, Boye-Christensen is stepping down from her post at RWDC, which hopefully means she will have much more time to develop her breathtaking choreography." (City Weekly)

"Unfortunately, words can only convey a tiny bit of Charlotte and her choreography. Writing is linear; dance is a simultaneous, controlled explosion of movement, music, costumes, lighting and set. And Charlotte's work in particular is neither narrative nor linear, has no beginning, no end, but rather everything takes place seemingly at once, as if in a dream. She has an extremely distinctive movement vocabulary that can be seen flowing, changing, and morphing throughout her works, without losing its unique fingerprint. Another of Charlotte's gifts is to nearly imperceptibly direct your attention with the movement of an arm or leg, a turn, or a gesture. And yet, as in a dream, the dance takes shape and has "meaning" only in the mind of the dreamer/watcher." (15 Bytes)

"Three" reveals, with great candor and daring, the intense and ongoing effort of self-evaluation and self-editing, which is as much a part of the total artistic process as any other component—though it receives far less recognition.  In this regard, Boye-Christensen continues her overall project of reorienting and reversing the fundamental oppositions (such as art/life, performer/audience, originality/repetition, etc.), which structure contemporary dance, revealing them for the malleable conventions they are." (Slug Magazine)

"With Feast, Now-ID—an interdisciplinary dance company with an international scope—really started to hit its stride presenting groundbreaking and thought-provoking site-specific work. Company founders Charlotte Boye-Christensen and Nathan Webster's second evening-length production took over the historic Great Saltair for a thematically diverse, one-night-only dance/theater event about appetites, tastes and desires that explored the act of consumption and how it affects the physical dimensions of the human body. Boye-Christensen's willingness to push her own movement vocabulary into new spaces and complex energies is what ultimately set the table for such a unique Feast." (Cityweekly)

"...appreciate the conviction and courage motivating NOW ID’s effort to use 19th century history as an unlikely vehicle for transporting local dance and its audience, finally, into the 21st Century....There is little doubt that future productions will continue to reflect the company’s ongoing effort to remove dance performance from its position of splendid aesthetic isolation and integrate it more fully within the broader arts community and regional context which situate and sustain it." (Slug Magazine)