REVIEWS

‘Rick Nodine’s movement direction was stunning.’ (Melanie Eskenazi - musicOMH, 2 July 2019)

 'Houston Grand Opera scores one of its greatest triumphs of recent seasons with its revelatory production of Dvorak's enchanting "Rusalka."' (Everett Evans - Houston Chronicle,  1 February 2016)

'Rick Nodine's Dead Gig offering a deliciously eccentric riff on his teenage infatuation with the Grateful Dead. Bearded, nerdy Nodine talks and dances a twitchy, fact-heavy introduction to the band, but progressively his body describes an acid trip of melting, wheeling moves as he falls under the Dead’s musical spell.' ( Judith Mackrell - The Guardian,  23 April 2013)

'Rick Nodine’s performance in his own piece Dead Gig was awesome. He related the intersecting histories of rock band The Grateful Dead and his own adolescence, through spoken personal narrative and psychedelic acid trail undulations……Part tribute to a beloved band, but more a reflection on how the cultural artefacts we encounter shape our lives even after we grow out of them,  Dead Gig was a joyful and moving piece, and Nodine deserves serious consideration for this year’s prize.' (Jeffery Gordon Baker - Londondance.com,  20 September 2012)

 'It is wonderful to see Nodine present transformations as events and not just passing places – to be taken by the hand through this process is a gift. We see many things as if we have discovered them ourselves.’ (Eleanor Sikorski - bellyflopmag.com, 23 MAY 2010)

 ‘Nodine is a rangy handsome forty something with lightning-fast performance circuitry – think Jim Carrey without the manic desire to please - and it’s riveting to watch him play physical and verbal pinball…’ ( Luke Jennings - The Observer,  25 April 2010)

‘There’s a deceptive artlessness about the bravura tussles and slickly acrobatic doublework of Rick Nodine and Jovair Longo. Ongoing is an evolving improvisation - Philip Jeck’s witty live music was a first-time addition - so even though theirs is a rapport “prepared earlier”, the performance was a fresh physical response to the space. Their joint slo-mo exit through a doorway, involving body lifts, slitherings, protracted balances and suspensions was the impressive finishing touch to a display full of fluid interactions and consummate, subtle control. Brilliant.' ( Mary Brennan - The Herald Glasgow,  21 February 2005)

'I entered the dreamy action pod and was instantly injected with what felt like a new capacity to perceive … super humans of choice, they’ve got it down ... It’s working when it’s not working, in fact it’s working better when it’s not working … an infectious craft of clever tact … how neat Timothy is.' ( Eve Stainton on Neat Timothy - The Uncollective)