"Zou Yu’s solo performance, in which she also has to move about sometimes and is entirely without sheet music, is stunning, amazing, inspiring".

     "Giving us the opportunity to look at the figures in the piece as just that, figures, abstract shapes, particularly as Haydee Antunano’s costumes, in their white regularity, accentuate the dimensions of the bodies of the four performer/creators: Paul Cooper, Chalia La Tour, Julian Elijah Martinez, Leora Morris, letting us reflect on how bodies in space interact with shadows, light, and one another. A particularly successful segment occurs early on when Cooper and La Tour, against a projected backdrop of a tree, enact a kind of slow-mo, organic pas de deux with lots of leaning on one another."

     "The projections (Rasean Davonte Johnson) help to create visual mood—at times reminding me of the look of scratched and blotted filmstrip passing through oldtime projectors—and the movements at times entail props, such as a suitcase, used very effectively at the close when the foursome withdraw as a single, train-like entity. Another segment features movements that ape the processes of the work-a-day world […] but, for the most part, the movements in Solo Bach aren’t mime but rather, we might say, motivated behavior, at times behind white masks."

     "We must all navigate the dueling presence—at times supportive, at times at odds—of the aural and the visual, the musical and the bodily."

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New Haven Review