Artist and educator Byron Au Yong (歐陽良仁) creates events Variety calls “intimate and existential, personal and political all at once.” He was born to Chinese immigrants in Pittsburgh and raised in the Pacific Northwest. His upbringing informs an attention to the ways people gather to listen and connect with the places they call home.

Examples include Activist Songbook, to counteract hate and energize movements (Asian Arts Initiative, Hopkins Center for the Arts, International Festival of Arts & Ideas), The Ones, a.k.a. (Be)longing, a.k.a. Trigger, about coming of age in an age of guns (Virginia Tech Center for the Arts, MDC Live Arts), Piano Concerto—Houston, for 11 pianists (University of Houston Cynthia Woods Mitchell Center for the Arts), and Turbine, for more than 80 moving singers along the water (Mendelssohn Club of Philadelphia and Leah Stein Dance Company). The Seattle Weekly says his “interdisciplinary works are as exquisite and imaginative as they are unclassifiable.”

Honors include a Creative Capital Award and Sundance Institute/Time Warner Foundation Fellowship. Au Yong holds degrees in theater, dance, and music from NYU, UCLA, and the University of Washington. He is an Associate Professor and Director of Arts Leadership at Seattle University.

Artist and educator Byron Au Yong (歐陽良仁) actualizes new approaches in performance. Born to Chinese immigrants in Pittsburgh and raised in the Pacific Northwest, his upbringing informs an attention to the ways people gather to listen and connect with the places they call home. Examples include Occupy Orchestra 無量園 Infinity Garden, a ceremonial work influenced by Chinese gardens, John Cage, and Occupy Wall Street (Chicago Composers Orchestra), Piano Concerto–Houston, a multimedia exhibition for 11 pianists, (University of Houston Cynthia Woods Mitchell Center for the Arts), and Mo Sheng 墨声 Ink Sound, an installation string quartet (Frye Art Museum).

Many of Au Yong’s projects address social dilemmas, such as the climate crisis. For example, Kidnapping Water: Bottled Operas, based on the I Ching (Book of Changes), was premiered by hiking singers and percussionists in 64 waterways from fountains to lakes, then installed as an audio art installation around a ring of salt (Jack Straw New Media Gallery). Turbine, for the 200th anniversary of the Fairmount Water Works, was premiered by more than 80 moving singers along the Schuylkill River (Leah Stein Dance Company and Mendelssohn Club of Philadelphia). The Seattle Weekly says that his “interdisciplinary works are as exquisite and imaginative as they are unclassifiable.”

His trilogy about liberation from oppression includes Stuck Elevator, The Ones, and Activist Songbook, co-created with librettist Aaron Jafferis. Stuck Elevator is a hybrid musical theater opera prompted by the true story of a Chinese food delivery man trapped in a Bronx elevator (American Conservatory Theater, Long Wharf Playhouse). The Ones, a.k.a. (Be)longing, a.k.a. Trigger, is a music theater forum about coming of age in an age of guns (Center for the Arts at Virginia Tech, International Festival of Arts & Ideas, MDC Live Arts, New Studio on Broadway at NYU). Activist Songbook is an ongoing collection to counteract hate and energize movements (Asian Arts Initiative, International Festival of Arts & Ideas). The Huffington Post calls Au Yong’s collaborations, “audacious, compelling and hugely imaginative.”

International performances include Salt Lips Touching (Jeonju Sanjo Festival), Edge (Hochschule für Musik und Theater Hamburg), and Forbidden Circles (Fukuoka Gendai Hogaku Festival, International House of Japan). Au Yong has received support from Aldeburgh Music in the UK, the Dragon Foundation in Hong Kong, the Darmstadt Institute in Germany, and Foundation Gaudeamus in Holland. He has collaborated with choreographer Donald Byrd on Farewell: A Fantastical Contemplation on America’s Relationship with China and The Mother of Us All (Spectrum Dance Theater). Music for theater includes The Orphan of Zhao (American Conservatory Theater, La Jolla Playhouse), and The War of the Roses (Cal Shakes). Au Yong curated the exhibition A Bridge Home: Music in the Lives of Asian Pacific Americans for the Wing Luke Museum.

Honors include a Creative Capital Award and Sundance Institute/Time Warner Foundation Fellowship. Residencies include the Asian/Pacific/American Institute at NYU, Exploratorium, Montalvo Arts Center, and Yale Institute for Music Theater. He holds degrees in theater, dance, and music from NYU, UCLA, and the University of Washington. He is an Associate Professor and Director of Arts Leadership at Seattle University.

Artist and educator Byron Au Yong (歐陽良仁) actualizes new approaches in performance making. His focus on intercultural collaborations and site-responsive experiences includes events for ensemble, choir, film, installation, taiko (drum), dance, or theater. Born to Chinese immigrants in Pittsburgh and raised in the Pacific Northwest, his upbringing informs an attention to the ways people gather to listen to music and connect with the places they call home. Variety calls his work “intimate and existential, personal and political all at once.”

Examples that reimagine the Western canon include Occupy Orchestra 無量園 Infinity Garden, a ceremonial work influenced by Chinese gardens, John Cage, and Occupy Wall Street, commissioned by the Chicago Composers Orchestra, Piano Concerto–Houston, a multimedia exhibition for 11 pianists, created in collaboration with social sculptor Susie J. Lee and commissioned by the University of Houston Cynthia Woods Mitchell Center for the Arts, and Mo Sheng 墨声 Ink Sound, an installation string quartet with sonic gestures that relate to the variable densities of Chinese ink painting, performed by the Passenger String Quartet and commissioned by the Frye Art Museum. According to The Stranger, he “elegantly mingles traditional instruments and theatrical staging with an astute sense of the avant.”

Many of Au Yong’s projects address social dilemmas, such as the climate crisis and neglect. For example, Kidnapping Water: Bottled Operas, based on the I Ching (Book of Changes), has hiking singers and percussionists perform in 64 waterways from fountains to lakes. This work can also be experienced as a media installation around a ring of salt. Turbine, commissioned by Leah Stein Dance Company and Mendelssohn Club of Philadelphia, was premiered by more than 80 moving singers along the Schuylkill River for the 200th anniversary of the Fairmount Water Works. Welladay! Welladay! Wayward Love Songs, a ceremony with text by James Joyce, was premiered in a former home for orphans and unwed mothers at the Good Shepherd Center. The Seattle Weekly says that his “interdisciplinary works are as exquisite and imaginative as they are unclassifiable.”

Au Yong’s trilogy about Asian men in the media, what Americans fear, and liberation from oppression includes Stuck Elevator, The Ones, and Activist Songbook, co-created with librettist Aaron Jafferis. Stuck Elevator, a hybrid musical theater opera prompted by the true story of a Chinese food delivery man trapped in a Bronx elevator for 81 hours, premiered at American Conservatory Theater with performances at Long Wharf Playhouse, directed by Chay Yew and produced by ArKtype. The Ones, a.k.a. (Be)longing, a.k.a. Trigger, a music theater forum about coming of age in an age of guns, was presented at the International Festival of Arts & Ideas, MDC Live Arts, and the Moss Arts Center at Virginia Tech, and NYU’s New Studio on Broadway, produced by ArKtype. Activist Songbook, an ongoing collection to counteract hate and energize movements, was presented at Asian Arts Initiative, International Festival of Arts & Ideas, and other locations, produced by Octopus Theatricals. The Huffington Post calls Au Yong’s collaborations, “audacious, compelling and hugely imaginative.”

In addition, Au Yong collaborates with other performance makers on original projects. Examples include music for choreographer Donald Byrd’s Farewell: A Fantastical Contemplation on America’s Relationship with China and The Mother of Us All, “a cheeky prat-fall down the rabbit hole of contemporary Africa,” for Spectrum Dance Theater. Au Yong has also worked with choreographers Marianne Kim, Archana Kumar, Edisa Weeks, Olivier Wevers, and Ying Zhou. Music for theatrical productions include The Orphan of Zhao (趙氏孤兒), starring BD Wong, directed by Carey Perloff for the American Conservatory Theater and La Jolla Playhouse, The War of the Roses, directed by Eric Ting for Cal Shakes, as well as collaborations with playwrights Eugenie Chan and Christopher Chen.

International performances include Salt Lips Touching, premiered outside a Confucian Temple at the Jeonju Sanjo Festival in South Korea, Edge, performed at the Hochschule für Musik und Theater Hamburg in Germany, and Forbidden Circles, performed at Acros Hall in Fukuoka and the International House of Japan in Tokyo. Au Yong has received support from Aldeburgh Music in the UK, the Dragon Foundation in Hong Kong, the Darmstadt Institute in Germany, and Foundation Gaudeamus in Holland. As a curator, Au Yong developed the exhibition and programs for A Bridge Home: Music in the Lives of Asian Pacific Americans for the Wing Luke Museum. He is on the board of the Music of Asian America Research Center.

Honors include a Creative Capital Award and Sundance Institute/Time Warner Foundation Fellowship. Residencies include the Asian/Pacific/American Institute at NYU, Exploratorium, Montalvo Arts Center, Sundance Institute Theater Lab, and Yale Institute for Music Theater. Au Yong holds degrees in theater, dance, and music from NYU, UCLA, and the University of Washington. Dedicated to education as an anchor for imagination and knowledge, he serves as an Associate Professor and Director of Arts Leadership at Seattle University.

EDUCATION
MFA, Musical Theatre Writing (2005)
NYU, Tisch School of the Arts Fellowship
Thesis Committee: Martin Epstein (Chair), Robb Hartman, Robert Lee, Mel Marvin

MA, Dance Studies (2003)
UCLA, World Arts and Cultures, Elaine Krown Klein Arts Scholarship, Graduate Teaching Fellowship
Thesis Committee: David Gere, Russell Leong, Marta Savigliano, Peter Sellars (Chair)

BA/BM, Music Composition and Theory (1996)
University of Washington, Bonderman Fellowship, Griffes Award, School of Music Scholarships
Principal teachers: Stuart Dempster, Joël-François Durand, Bright Sheng, William O. Smith

Additional Composition Studies
Giorgio Batistelli and Harrison Birtwistle, Jerwood Opera Writing Programme (2007)
Yuji Takahashi, Atlantic Center for the Arts (1996)
Paul Chihara, Ernest Bloch Music Festival (1995)
John Corigliano, John Harbison and George Rochberg, American Music Center (1995)
Dimiter Christoff, Ton de Leeuw and Nigel Osborne, Foundation Gaudeamus (1994)
Robert Kyr and Arvo Pärt, Oregon Bach Festival (1994)

TEACHING
I am currently an Associate Professor and Director of Arts Leadership programs at Seattle University. From 2016 to 2023, I taught in the Honors College and the Performing Arts Department at the University of San Francisco. From 2007 to 2015, I taught at Cornish College of the Arts, where I was in the Dance, Humanities and Sciences, and Music Departments. From 2001 to 2003, I was a Graduate Teaching Fellow in the Department of World Arts and Cultures at UCLA. In addition, I have led workshops for organizations such as Arts & Democracy, Asian Musical Voices of America, Creative Capital, Exploratorium, North American Taiko Conference, Science Leadership Academy, Stanford University, Virginia Tech, and more.

Courses developed and taught…
Composition Lessons prepare students who write original music to extend their knowledge and practice of composing. Students work on their own music, informed by exercises on form, notation, instrumental and vocal techniques, and analysis of works related to their projects. The process of music composition from conceptual sketches to score preparation and program notes is covered alongside using music notation software, rehearsing newly composed work, producing music, copyright, distribution, recording, and other music business logistics according to student interests. Along with weekly private lessons, field trips to concerts, local new music meetings, and participation in master classes and recitals provides exposure to and networking in the music field.

Creating Soundscapes introduces the vocabulary and creative methodologies of acoustic ecology. This includes the study and production of audio where sounds modify and are modified by the environment. Students assess existing natural and digital soundscapes, as well as create their own audio recordings and mixes through deep listening and working with technology to process sound. The course culminates with students creating sound art prompted by and for specific locations.

Gun Violence, Music and Youth, co-taught with Dr. Erin Grinshteyn, is a practice-based course that applies a public health lens alongside music analysis to learn how creativity critically engages with social issues. Every day more than 100 people die and countless others are injured from gun violence in the United States. The effects extend far beyond those directly affected by these incidents. Violence, along with associated topics such as civil liberties, gun control, the second amendment, and loss, have both divided and brought together families and communities. Music has both been blamed for and written as a response to gun violence. Assignments include analytical, artistic, interpretive, and research projects in multiple modes.

Introduction to Performing Arts and Social Justice uses an interdisciplinary, cross-cultural approach to survey the dynamic and effective strategies of performing artists engaged in social justice work. This course investigates topics such as systemic violence, power, and privilege, alongside community building, risk-taking, and commitment. Around the world, artists engage with complex issues to strengthen communities and promote change. The expertise of faculty, artists around the world, and projects shared by classmates contribute to this survey course. Throughout the semester, creative responses, presentations, videos, fact sheets, timelines, and performative experiments are made. These resources form an artistic response toolkit to analyze artistic work from multiple perspectives and gather materials essential for performing artists who use their skills for social justice causes.

Music and Social Protest is an action-oriented survey course that investigates various strategies of music and activist organizing from around the world. The majority of the course focuses on how music intersects with political and social change through readings and resources, such as sheet music and videos. Topics include Freedom Songs used in the Civil Rights Movement in the United States, Struggle Songs used in the Anti-Apartheid Movement in South Africa, music of the Nueva Canción Movement in Latin America, Okinawan Eisa in Japan, hip-hop organizing, labor movement music, Riot Grrrls, and other music making to understand how sound and performance empowers people who seek collective justice.

Music for Theater provides hands-on training to design and create audio for theatrical performances. Sound plays a critical role in theatrical productions. Music can cause audiences to feel or move a certain way. It can direct or distract attention from dramatic moments. Atmosphere, character, location, mood, style, time period, and cultural context may be conveyed through auditory information. This lab course emphasizes applied learning through music theater research and interdisciplinary collaboration. Required readings cover ritual, incidental music, songs within plays, and sound design. Assignments include creating audio for dramatic scenes, then revising your music based on production needs. Upon successful completion of Music for Theater, students will have a portfolio of audio and scores.

Producing Concerts focuses on the artistry and logistics of managing and producing music to create social impact. Hands-on skills are emphasized while learning how to produce and promote musical events from concept to performance. Topics include programming, community engagement, curating talent, venue selection, fundraising, strategic communications, marketing, and documentation. Assignments and guest speakers in this lab course are relevant for students interested in arts management, event planning, and managing meaningful projects.

Unruly Rhythms is a theory course focused on musical time. This includes an introduction to a wide range of sources from the rhythmic complexity of the Ars Subilitor in the 14th century to the nested rhythms of the New Complexity in the 20th/21st century. Electronic music, groove, hip hop, rock and roll, unmeasured preludes, and other ways to think about rhythm will also be studied to expand ideas about musical time for composing and performing. Rhythmic concepts such as subdivisions of the beat, irregular and changing meters, polyrhythms and polymeters will help develop advanced rhythmic skills and a rich rhythmic vocabulary essential for contemporary musicians.

Workshop in Music Production is a studio course designed to help students develop creative and technical skills necessary to prepare for the Music Showcase. Course work includes learning how to perform, produce, and promote music events from concept to performance. Rehearsals emphasize learning by doing, observing, and providing peer-to-peer feedback, under the direction and supervision of the instructor. Through focused attention to music performance, this course supports the goal of the Performing Arts Department for all students to gain a solid foundation in the technical and conceptual skills of their craft while developing individual and collaborative approaches to the artistic process.

Highlights
Kelsey Menehan, Commissioning Journeys: When the Place Shapes the Music, Chorus America, Sep 2015
Robert Hurwitt, Stuck Elevator Review: Top-flight, San Francisco Chronicle, Apr 2013
Gavin Borchert, Water Music, Seattle Weekly, Aug 2008

Articles
Eric Hung, Applying Commemorative Museum Pedagogy to Public Music Studies, American Music, Vol. 40, No. 3, Fall 2022, pp. 312-330
Huma Ali, Sonolocations intersects audio art and storytelling of the pandemic, The Daily, Aug 2021
Lucia Verzola, USF community contributes to music video for voting, San Francisco Foghorn, Nov 2020
Lucy Gellman, Arts & Ideas Gets An Activist Soundtrack, New Haven Arts, May 2020
Pendarvis Harshaw, The Pandemic, the Protests and the Police, KQED, Jun 2020
Jady Ojiri, Make The World Your Stage, Mar 2020, USF News
Christopher Arnott, George Takei talks about his acting, writing and activism, Hartford Courant, Feb 2020
Manami Okazaki, How Songs Became Powerful Weapons, South China Morning Post, Dec 2019
Kathy Leonard Czepiel, Melodies and Movements, Daily Nutmeg, Dec 2019
Arvin Temkar, United We Stand, USF News, Oct 2019
AT Editors, 6 Theatre Workers You Should Know, American Theatre Magazine, May/Jun 2017
Rebecca Fischer, Color, Water, Sound at Aster Montessori School, Fischer Violin Blog, Nov 2017
Robbie Harris, New Theater Piece Explores Gun Violence, WVTF, Mar 2017
Ruby Lerner, The Art School of the Future, Creativez, Apr 2016
David Patrick Stearns, Getting Creative Down by the Riverside, The Philadelphia Inquirer, Jun 2015
Patricia Caswell, Sixteen Geniuses in January, The Hermitage Artist Retreat, Jan 2015
Frank Rizzo, Chinese delivery man's nightmare comes to stage as Stuck Elevator, Hartford Courant, Jun 2013
Richard Connema, A Fascinating Production of Stuck Elevator, Talkin’ Broadway, Apr 2013
Clinton Stark, Trapped in an elevator for 81 hours, Stark Insider, Apr 2013
Bob Hicks, Ten Tiny Taiko Dances: The First Steps, ArtScatter, Mar 2010
Michael Upchurch, Spectrum’s latest show contemplates geopolitics, The Seattle Times, Feb 2010
Bob Hicks, Recording Rhythms of Change, ArtScatter, May 2010
Z.K. Slabý, Apokalyptický pohádkář ze zrezavělé lodi, Unijazz Magazin, Oct 2006
Christopher Blasdel, Pro Music Nipponia gives new life to contemporary, The Japan Times, Sep 2002
Sid Whelan, The Unlimited Flavors of American Pie, NewMusicBox, Aug 1999

Interviews
Tricia Park, Podcast 28: Counteract the hate, Is It Recess Yet? Sep 2020
Tricia Park, Podcast 29: Shouting comes from having no choice, Is It Recess Yet? Sep 2020
Mayumi Tsutakawa, Playwright Julia Cho weaves a brief but difficult tale, The Seattle Globalist, May 2019
Philippa Kelly, Of Forests and Metal: Interview with Composer Byron Au Yong, Cal Shakes, Sep 2018
Imani Roach, Byron Au Yong and Aaron Jafferis write useful protest music, Artblog, May 2018
Peter Crimmins, Asian Arts Initiative celebrates past 25 years, new transition, WHYY, May 2018
Dan DeLuca, Asian Arts Initiative's Activist Songbook, The Philadelphia Inquirer, May 2018
Frank Rizzo, Taking Aim at Violence at International Festival, Zip06, Jun 2017
Brian Slattery, Hip Hop Oratorio (Be)longs at Long Wharf, New Haven Independent, Jun 2017
Connie Ogle, Hip Hop Musical Trigger, Miami Herald, Apr 2017
Amanda Plasencia, March to End Gun Violence at Miami-Dade College, NBC Miami, Apr 2017
Robbie Harris, (Be)longing Explores Gun Violence, 10 Years After Virginia Tech Shooting, NPR, Apr 2017
Phillip Valys, Anti-gun-violence Musical Trigger Comes to Miami, SunSentinel, Apr 2017
Kim Hutchinson, Arts Performances Explore Gun Violence, I'm Not Your Boring Newspaper, Apr 2017
Shin Yu Pai, Exit Interview: Byron Au Yong, CityArts Magazine, Aug 2016
Sharon H. Chang, In the White Frame, Multiracial Asian Families, Aug 2016
David Patrick Stearns, How many arms does it take to conduct the Mendelssohn Club Choir? WRTI, Jun 2015
Hannah Fenlon, It Takes a Team: Five Questions for Byron Au Yong, Creative Capital, May 2015
Nathan Christensen, Beyond Broadway: Long Distance Relationships, New Musical Theatre, Jan 2015
Jess Van Nostrand, Art and Technology, The Project Room, Aug 2014
Jess Van Nostrand, Composer Byron Au Yong, Visit Seattle, Oct 2013
Allan Appel, Stuck Elevator unsticks writer’s imagination, New Haven Independent, Jun 2013
Joe Myers, Stuck Elevator presented by New Haven festival, Connecticut Post, Jun 2013
Chad Jones, Story lifts A.C.T.’s Elevator to great heights, Theater Dogs, Apr 2013
Richard Dodds, A life caught between floors, Bay Area Reporter, Apr 2013
Sean Au, 81 hours stuck in an elevator? Sounds like a musical, Edge Media Network, Apr 2013
Matthew Blank, Photo Exclusive: backstage and around San Francisco, Playbill, Apr 2013
Jenny Gill, In Focus: Stuck Elevator, Creative Capital, Mar 2013
Roxanne Ray, Spectrum Dance: Byron Au Yong Interview, International Examiner, Feb 2010
Roxanne Ray, A water opera splashes in Seattle, International Examiner, Aug 2008
Jen Graves, Tao Te Ching texts inspire composer, The News Tribune, Aug 2005

Reviews
Lily Janiak, Cal Shakes The War of the Roses, San Francisco Chronicle, Sep 2018
Miriam Seidel, Leah Stein, Dance Alchemist, Miriam Seidel, Jul 2015
Lewis Whittington, Stein’s water-dances fuel Turbine, The Dance Journal, Jun 2015
David Patrick Stearns, Turbine stirs voice and movement into water, The Philadelphia Inquirer, Jun 2015
Rebecca Romani, The Orphan of Zhao: A masterful production not to be missed, KPBS, Aug 2014
David C. Nichols, The Orphan of Zhao: a skillful, specialized epic, Los Angeles Times, Jul 2014
Jeff Smith, The Orphan of Zhao, San Diego Reader, Jul 2014
Diana Saenger, Exciting world of ancient China awaits, La Jolla Light News, Jul 2014
Jack Lyons, The Orphan of Zhao at La Jolla Playhouse, Desert Local News, Jul 2014
James Hebert, Review: a rich and rewarding Zhao, The San Diego Union-Tribune, Jul 2014
Leo Stutzin, Revenge, Honor, Sacrifice in Ancient China, Huffington Post, Jun 2014
Pat Craig, Orphan of Zhao an epic and engrossing tale, San Jose Mercury News, Jun 2014
Chad Jones, The Orphan of Zhao review, San Francisco Chronicle, Jun 2014
Harmony Wheeler, Orphan of Zhao at ACT-SF is Intense Powerful Drama, Broadway World, Jun 2014
Donald Brown, No exit, New Haven Review, Jun 2013
George Heymont, Papers, Please, Huffington Post, Jun 2013
Frank Rizzo, A trapped man is the unlikely subject of a moving musical, Variety, Jun 2013
Frank Rizzo, Entertaining Stuck Elevator at Long Wharf, Hartford Courant, Jun 2013
Leo Stutzin, Stuck Elevator: audacious, compelling, hugely imaginative, Huffington Post, Jun 2013
Sujn Chon, Stuck Elevator impresses at world premiere, International Examiner, May 2013
Sasha Paulsen, What to do if you’re in a Stuck Elevator, Napa Valley Register, Apr 2103
Geneva Anderson, A.C.T.’s Stuck Elevator: a new musical-theatre-opera hybrid, Art Hound, Apr 2013
Jay Barmann, Stuck Elevator at A.C.T. SFist, Apr 2013
Robert Sokol, A.C.T.’s Stuck Elevator pushes buttons, San Francisco Examiner, Apr 2013
Joy Tang, Stuck Elevator at San Francisco’s A.C.T. Hyphen Magazine, Apr 2013
Suzanne Weiss, Stuck Elevator, SF, Culture Vulture, Apr 2013
Lauren Yarger, The American Dream, immigration woes, super heroes, BroadwayWorld, Apr 2013
Kristen Legg, Flashes of Brilliance, Seattle Dances, Feb 2012
Nate Watters, Magma Festival, CityArts, Mar 2012
Rachel Gallaher, The Mother of Us All presents open-ended views of Africa. CityArts, Mar 2011
Michael Upchurch, The Mother of Us All Review, The Seattle Times, Mar 2011
Blythe Lawrence, In Moore Inside Out the theater is part of the show, The Seattle Times, Jun 2009
Regina Hackett, Free Sheep Foundation—Moore Inside Out, Another Bouncing Ball, Jun 2009
Misha Berson, A funny/sad portrait of teenage isolation, The Seattle Times, Feb 2009
Christopher DeLaurenti, Dry and Dark, The Stranger, Oct 2008
Judith van Praag, Entering into a new dimension, International Examiner, Dec 2004
Misha Berson, Theater homage features dance, puppet, The Seattle Times, May 2002