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Recent Reviews

Deborah Jowitt, The Village Voice

Larry Keigwin and Kate Weare Put Dancing in the Black
"Black may be perennially chic, but in dance it’s the color of rigor."

Deborah Jowitt, The Village Voice

Clinging to Life in Kate Weare's Bridge of Sighs
"Note to self: Try not to miss any performances by Kate Weare's group."

Jennifer Dunning, The New York Times

In Berkshires Fresh Talents Still Bloom

Janine Parker, The Boston Globe

Different styles, but duo provides a journey of struggle

Press Quotes

“...Kate Weare opened the festival with an impressively mature style - rangy, primal, often crouched like a tiger - and one dance to make you sigh with feeling, a sweet duet of sorority with the fabulously dramatic redhead Leslie Kraus.”
Rachel Howard, Chronicle Dance Correspondent

"Formally, the original Kate Weare is a minimalist..yet emotionally, she paints on a large scale, exploring love, power, and womanhood."
Rita Felciano, SF Chronicle

"Kate Weare choreographed a take on tango for Adrian Clark and Leslie Kraus, by turns erotic, gymnastic, and seething hot. The partners are inseparable, like tango dancers; “Drop Down” simulates that form, with its machismo, sexuality, and turgidity." 
Lori Ortiz, Gay City News

“Kate Weare’s Drop Down seemed to encapsulate a world of experience in a quarter of an hour. Clark is tall, cool and unpredictable. Kraus wears her charisma like her flame-red hair; their performances bask in a hair-trigger exhibition of technique, and Weare avoids cliché every step of the way. An element of danger suffuses Drop Down; you’re never sure how a participant will respond to his or her mate…and it was hard to blink while they commanded the stage.” 
Allan Ulrich, Voice of Dance

“With her chiseled cheekbones and stately carriage, Kate Weare has a natural authority, which she puts to use in her new piece “Wet Road.” Weare, like a bright-eyed Athena, functions as a distant, skeptical observer who intervenes periodically in the dynamics of two couples working out their earthly desires and struggles with pushing, pulling, limb-trapping, and tango-inflected kicks.” 
The New Yorker

"A double bill I saw recently at Dance Theater Workshop can stand for an entire generation of choreographers. In "Wet Road," Kate Weare wanted to explore sexual desire from a female perspective. She did so, but not with bold nudity…the clinical detachment of Ms. Weare's approach was deeply erotic in its very indirection.” 
John Rockwell, NY Times: Sunday Arts & Leisure