The New York Times

"My favorites were ... Michelle Dorrance, who appeared in several numbers, looks like the actress Hilary Swank and dances like some of the oddball characters Ms. Swank tends to play. Ms. Dorrance was an untamable, tomboyish force of nature in 'Baobabs,' … Rangy, skinny and unpredictable, Ms. Dorrance also danced in 'Charlie's Angels,' a sizzling trio of dancers choreographed by Jason Samuels Smith … And Ms. Dorrance danced as if she knew a secret or two but wasn't telling in an exuberant and crisp finale with Barbara Duffy & Company."

Full Article

The Boston Globe

"Dorrance is a marvel. The most riveting moment of the evening was the beginning of her solo 'Sissy Strut.' Danced in total darkness, one could hear the music in her feet, complicated rhythms at blistering speed infused with a remarkable range of tonal color, from delicate fill to thundering smackdowns. She's the whole package.

Dorrance and Grant … danced a lovely, elegant soft shoe, their playful rhythmic conversation like whispered endearments."

Full Article

Los Angeles Times

"All hail, then, to Michelle Dorrance for … reminding us of what's essential in this art."

The Chicago Tribune

"… whether playing class nerd or hot babe, Michelle Dorrance is dynamite."

Chicago Sun Times

"In 'Tu Eres Loco,' set in a salsa nightclub, reed-thin Michelle Dorrance heats things up to a sizzle"

Dance Magazine

"She has monstrous technique and a funny, quirky view of the world." - Josh Hilberman

View PDF

Dance Magazine

"Michelle Dorrance – brilliant and impish – revealed a vulnerably geeky, girlish side in Regina Spektor's Baobabs … none shone as bright as Jason Samuels Smith and his Charlie's Angels: Dorrance, Chloe Arnold, and Dormeshia Sumbry-Edwards, a trio of tough, ultra-sophisticated vamps in high-heels and little black dresses who can hoof at 100 mph."

The New Jersey Star-Ledger

"A couple of numbers … were especially impressive ... In … 'Eleanor Rigby,' …choreographer Michelle Dorrance displayed her command of the small, irregularly shaped stage, with lines of dancers circulating tightly and efficiently. With its anonymous crowds and clenched gestures, this work also captured the song's pathos."

Dance Magazine

"Dorrance's Music Box, performed in Tap City 2005 at The Joyce Theater in New York, diffused gender boundaries with its combination of movement and costume. Nine dancers—six of them women in dresses – bent their knees, assumed a wide stance, and in eight quarter-note heel drops illustrated a concept that may be unique to the feminine tap dancing experience: the sugar and the spice. Dorrance (who demonstrates in Music Box that her athletic, energetic style adapts well to a strapless dress) speculates that one advantage to being a woman is the freedom to move between traits traditionally considered masculine or feminine. It is now perfectly acceptable for women to traverse a wide range of styles, like dancing loudly or softly, pulling up out of the floor or relaxing into it, and interacting with the audience or focusing inward."

The Village Voice

"Standout performers included savvy Michelle Dorrance (making bubbly music, rocking out, or Lindy Hopping as the moment required)"

The New Yorker

"gangly wonder" "young lion"

Independent Weekly

"Michelle Dorrance at the Ballet School of Chapel Hill's 25th Annivesary. In an evening of bravura turns, Michelle tapped off with incandescent footwork, as she played an ever-escalating choreographic game of "chicken" with gravity and syncopation. The audience roared--with reason."