“A postmodern duet most memorable for its torrent of lifts and its frantic episodes of running in place… the piece’s best moments were its last few minutes, which were danced in silence. When all you could hear was the dancers’ breath, it helped tightened the focus on their shaking hands and, ultimately, on a strangely chilly final embrace.”

Washington Post: “VelocityDC Dance Festival gives audience samples of virtuosity”
– Sarah Halzack October 11, 2013


“Rebollar Dance company exhibited a refreshing professionalism and an innovative approach to contemporary dance. They are exactly what the District needs.”

MD Theatre Guide
“‘Cardinal Points’ by Rebollar Dance at Atlas Intersections Festival”
– Maya Oliver March 21, 2013

With Cardinal Points, Erica Rebollar has presented work alongside that of her dancers. Not only is the success of this show a testament to her choreographic prowess, as well as that of her dancers, but it is proof that she knows how to select a mature, open, and creative team of dancers that can present work alongside her own and have the evening be cohesive, evocative, and exciting… Rebollar Dance is an exciting and entertaining gem in the DC dance scene. Erica Rebollar and her dancers bring honest work to the table time after time, and there is something refreshing in a company of dancers/choreographers that don’t need bells and whistles to make their work sparkle and shine. The movement speaks for itself; it evokes intimacy, humor, and excitement at various moments throughout, and leaves you wanting more. Put Rebollar Dance on your radar so you don’t miss any future performances of their work!”

DC Metro Theatre Arts:
“‘Cardinal Points’ by Rebollar Dance at INTERSECTIONS at Atlas”
– Rick Westerkamp, March 9, 2013


“The work was big and abstract in scope, but minute in its attention to details… the movement vocabulary was as unique as the design. By the light of a (fake) full moon, they created an illusion of floating — at least that’s how they appeared to one subjective mind entranced by this performance.”

Washington Post: “At City Dance, a true — and transfixing — space oddity”
– Rebecca Ritzel, December 2, 2012

“The choreography by Erica Rebollar and her dancers was endlessly inventive and constantly suggestive and cryptic… Where so many modern dance pieces use music to create patterns and ever shifting forms, Rebollar has something to say with “Space Junk.”… Rebollar is not afraid to throw everything at you… I can only imagine how fiendishly difficult this piece must have been to develop and then execute…We forget how important space exploration has been this year – but “Space Junk” was a timely reminder.”

Mocovox Entertainment: “This Space Junk is a Space Oddity”
– David Cannon, December 2, 2012

“Sometimes structured and lively, sometimes turbulent and dizzy. Always mesmerizing… They are risk-taking experimenters moving beyond well-known, often-done routines of classical dance… the Rebollar Dance Theatre is far from humdrum or milquetoast. The athletic troupe has a dance style that is rigorous, intricate and physically stylized… she works with time in its stillness and warp speed. She works with space, whether constrained or vast. She works with an idea of the human body and its emotional alertness…”

Fairfax County Times: ‘Space Junk’ explores all aspects of dance:
Rebollar Dance Theatre production mixes power, precision
– David Siegel, November 20, 2012
“It was refreshing to experience the head-throbbing dizziness of Rebollar Dance.”

DC Metro Theatre Arts: ‘VelocityDC Dance Festival’
– Breena Siegel, October 22, 2012

“Since arriving in the District more than a year ago, Erica Rebollar has been one of the most intriguing additions to the city’s dance scene. A fluid dancer whose choreography tends towards the specific, Rebollar has quickly established herself here. This fall is a big one for her.”

City Paper’s Fall Arts Guide 2012:“Rebollar Dance”
Rebollar Dance’s “Space Junk” Dec. 1 and 2 at Strathmore
– Amanda Abrams, September 14, 2012


NBC News:
FOX 5 News:


“Choreographer Erica Rebollar creates masterful pieces of work displayed by a team of four dancers, herself included, performed almost entirely in the water. Rebollar, joined with Heather Doyle, Sylvana Christopher, and Amber Jean Tietgens, become the four aquatic nymphs in a sense, their first series of movements in the water almost as if they are the water itself. They move about, swaying and falling against one another as waves crash upon the shore. Rebollar creates dynamic changes between her segments of dance, one moment fluid and serene the next jarring and stilted with sharp jerky motions performed to a pointed rhythmic clockwork soundtrack. The performers are beyond courageous for adapting hints of a story through interpretive dance and exploratory movement in the water. With a perfect twilight to end a perfect show this limited engagement is the crowning glory of exploratory devised works this season.”

DC Metro Theater Arts
— Amanda Gunther, April 27, 2012

“The Nautical Yards has been a joint venture with choreographer Erica Rebollar and Rebollar Dance. Together with director John Moletress, the team has created a performance art work that unfolds slowly in a series of scenes or rituals. Each section brings our focus to the many symbolic roles of water. The movement vocabulary of the performance is an interesting blend of forms. Strong bare legs and the way feet plant themselves in the grass or flick then pull through water remind me of the Pina Bausch Company and that company’s use and attention to the elements. Sylvana Christopher blends perky show steps and jazz in a strong solo… I walked to my car feeling satisfied and strangely teary by having seen something odd but brave and moving that was communicating to us something about being human, and, in its expression, bringing life to a spot in Washington that has been long emptied and neglected. Isn’t this what theatre is meant to do?”

DC Theatre Scene
~Susan Galbraith, April 29, 2012


“A psychology-major roommate told me once that a hallmark of the human brain is its proclivity for categorization. Well, count me in. In ruminating about this year’s memorable dance performances, I found myself subconsciously dividing them into three groups…Physical…Mental…and Complete Package…
A few shows this year managed to combine both elements, mixing gorgeous dancing with a sense of something deeper, be it ideas, emotions, or simply an abstract mood. I’m thinking of Tinsel and Bone, by Erica Rebollar, which showed on the Millennium Stage…”

Most Memorable Dance Performances of 2011, City Paper
– Amanda Abrams, Dec. 30, 2011

“Erica Rebollar recently arrived in D.C., but she’s earned her chops in Los Angeles, New York, and Indonesia—and has a precise, contemporary style to show for it. In her first big performance in the area, Rebollar will perform “Tinsel and Bone,” which explores the various identities humans carry within them, at Millennium Stage.”

The Fall’s Best Modern Dance, City Paper’s Fall Arts Guide 2011:
“Three Surprising Modern Dance Shows, Even for Modern Dance”
Rebollar Dance’s “Tinsel and Bone” at the Kennedy Center’s Millennium Stage
– Amanda Abrams, September 16, 2011

“Best Brainfood”
The List, Washington Examiner, Oct 6, 2011


“Erica Rebollar’s body in “The Lights” is attuned to an e-world.”

“Autumn Bounty”, DanceViewTimes
Velocity DC Dance Festival,
Harman Hall,
Washington, DC
October 9, 2010
– George Jackson

“Erica Rebollar choreographed and performed The Lights From The Heavens are Called Stars. This one-woman dance included stiff arm movements like a part of a machine and machine based street life sounds to which she danced. She had precise pauses between movements. Some of the movements were based in real life movements, such as riding a subway. By the end of the dance when she rolled her shoulders back, she was glistening in sweat. She portrayed chaos while still being in control of her movements throughout.”

The A.W.A.R.D Show, Joyce Soho – March 2007 Performance
-Robert Abrams, 2009

“Erica Rebollar’s solo work defied gravity in places. These weren’t explosive moves, just ones that made you wonder how she tunneled from Point A to Point B without strictly exploring any of the space in between.”

The Hidden Theater, Los Angeles, January 15, 2006
– Ravi Narasimhan,

“I was totally blown away by her work.”

– Nina Winthrop, Artistic Director of Nina Winthrop and Dancers and
Curator of “Dance Conversations”, NYC

“The speed of the solo act (Erica Rebollar) was quite amazing. To see a human being move as fast as she did in the poses and movements was spectacular. The combination of using her hand and feet to demonstrate the ticking of clock was a reminder of how great choreography can add to a performance.”

– Chantell C./ CAL State Dominguez Hills


“Words played a crucial role in Erica Rebollar and…shared evening of works at Danspace Project on Thursday night. Ms. Rebollar’s “Wooden Mary,” a series of vignettes based on iconic female figures, held more shape…The setting of Ms. Rebollar’s “Wooden Mary” was spare, except for two red squares on the floor. The work began as Haruka Fujita swayed slightly, eventually facing the audience as her arms rippled from her sides like an ethereal swan. With slinky control, she distorted her body — stretching her arms behind her back like broken wings — and infused the dance with the aura of a Japanese thriller. She inched off the stage, toe to heel. The toe-to-heel motif ran through other sections of the work, which featured six women and one man. Another dancer, Eriko Jimbo, poised on a red square, spun her body into a fury of turns. Dan Kwong, holding a sword, sliced off the heads of long-stemmed white blossoms held by Ms. Fujita… an eerie world.”

“Words played a crucial role in Erica Rebollar and Kim Whittam’s shared evening of works at Danspace Project on Thursday night.“
– Gia Kourlas, NY Times, Sept 23, 2006


“On Saturday, I saw Erica Rebollar’s piece in the ongoing Mabou Mines RAP presentations. If you recall, I posted about her explorations of amnesia a couple months ago.

The piece in full was truly amazing. Not only did her movements and gesture continue to develop into a great dance, but she did awesome things with projection and through collaboration with a composer that really enhanced her work.

A few moments that really stood out to me were these gigantic projections of her doing the piece that covered her moving body and the back wall. Since the piece was about the loss and attempt at reconstructing identity this was particularly effective. There was another moment of projection when she lay on the floor with her back arched and her forehead facing the audience when a line of text was projected and ran right over her forehead. You could read it like a news ticker. Since, once again, the piece was about amnesia and the text was a Washington Post story about an amnesiac, this was enormously successful.

Congratulations to her. If you’ve been missing these presentations, you’ve been missing out.”
-A. Rey Pamatmat, Playwright -to-forget-to-remember.html,
February 12, 2006


“If you’re looking for diversion, pop scores or a Fred-and-Ginger kind of night, “Flesh,” an evening of new choreography at Highways Performance Space, is not recommended. If, however, you’re willing to go to the Planet of Pain, populated by deep-thinking, angst-ridden dance-maker Erica Rebollar…will take you there…Rebollar, who bears a resemblance to Catherine Zeta-Jones, joined the elastic-limbed Efka Kvaraciejus to perform Schon’s “Hush.”…Rebollar’s “The Time It Takes to Love” begins with a previously reviewed solo, “Hunter/Hunted.” As before, Rebollar dazzled with her signature martial arts/yoga variations…the choreographer’s feral presence. One longed for Rebollar to reappear; when she did, in a coda, it was as if the piece came back to life.”

“Angst is overriding in this suite of newly choreographed works”
-Victoria Looseleaf. LA Times, Calendar Aug 23, 2003
Primeval pain sets the scene in ‘Flesh’


“Since one of them, fortunately one of the better ones, Erica Rebollar, brought two works…The revelation of these two evenings came from the Spanish-born but American-trained Rebollar. An exquisite dancer the softest of descents and rebounds, an ability to shift weight and direction with great precision, and a knack for constructing tightly constructed pieces. Hunter/Hunted and Hope Code took advantage of a varied training with must have included Asian as well as more conventional Western styles in addition, probably, to martial arts and yoga. The deep lunges with one leg straight out to the side, the open body postures and the filigreed hands looked as though they stepped out of a traditional Asian dance drama. Yet the speed, the force of attack, and the complex way of layering material were assertively of today. In Hunter/Hunted, set to percussive score by David Karagianis, Rebollar deftly shifted back and forth between embodying the hunter and her prey. She gradually tightened the noose until at the end the two merged, as her fingers clenched the imaginary mirror – an image with which the piece had opened. In both works she expanded from a circumscribed area into a wider space only to return to it; both pieces also opened and closed with a singular image—the hand clenching mirror, for the first; arms, stretched up into a source of light, for the second. It will be fascinating to see where this talented artist takes her choreography, which at this point is still tightly connected to her own physical training.”

“One Night Stands”
-Rita Felciano, danceviewwest: writers on dancing. July 22, 2003
SummerFest/ODC Theater

“Erica Rebollar’s ‘Hope Code’ was a severe but arresting solo incorporating martial arts poses and suggesting a quest for both transcendence and self-control.”

“Strong steps forward,”
Chris Pasles, LA Times, Calendar, June 28,2003.

“Erica Rebollar’s new ‘Hunter/Hunted,’ saw the choreographer-dancer in thrilling variations on yoga postures.”

“LA Dance Invitational impresses with a strong roster of talent,”
Victoria Looseleaf, LA Times, Calendar, June 9, 2003.


“Another showstopper: ‘When the Bones Lie Open,’ Favand’s collaboration with guest dancer-choreographer Erica Rebollar, was a primeval romp set to Ron Bartlett’s arpeggiated score…”

“’Daybreak’ flows into pertinent themes,”