"other stories expands Beller’s interest in the power of the personal — history, physicality, experience — and how it can affect movement. The individual stories/dances are evocative and moving."
Brooklyn Eagle (5.6.2010)

"...it is remarkable how much historical and emotional information Beller is able to convey in seamless and unobtrusive ways [in piece]."
OffOffOff.com (5.8.2009)

"It is always good to see an artist pushing at awkward, deeply felt realities, and Ms. Beller does so with a generous spirit...her choices are smart, including her fine dancers. They slide with aplomb between comic-pathetic exchanges and Ms. Beller's full-bodied, voluptuous choreography."
The New York Times (5.8.2009)

"what comes after happy...takes on the American pursuit of happiness head on through spot lit vignettes and sharply observed, often wickedly humorous character studies that could have been plucked out of a Broadway show and with performers with big auras and skills that kill. Add to that Beller's freeing, lavish, and explosive choreographic style. It's an outrageous and quite diverting dish."
Infinite Body (5.8.2009)

"Sweet, smart, and exceedingly timely, egg is a witty nod at motherhood. Beller is a caregiver, a fix-it gal, a would-be savior. Alas, to be a mother is to be tender, daring, and decidedly imperfect. To be a mother is to be deeply human."
offoffoff.com (5.8.2009)

"Beller's performance is just that: impossible, absurd, delicate, dangerous and exhilarating. It's also a performance that, for anyone seeing Beller for the first time, will tilt the mind towards the impossible, absurd, and so forth. Beller is famously lush, pillowy, curvaceous of physique, and I bring this up because the largeness informs so much of what makes her Dance Theater gracious and distinctive."
Infinite Body (5.8.2009)

"Pick any topic over which conservatives and liberals lock horns—immigration, Abu Ghraib, abortion, politicized religion, same-sex marriage; Beller visits them all. How she does it is pretty astonishing. Beller—a bright young force on the experimental scene—dreamed up the idea and the choreography. And her voluptuous, no-nonsense presence socks almost every point imaginatively home."
Deborah Jowitt, The Village Voice (7.2007)

"The masterful timing and pacing of this show reflect Beller's years of experience as a performer...Taking the idea of love and relationship and sex and turning that into an exploration of one's relationship with a country is a concept that requires such an excellent performance to make it work."
Quinn Batson offoffoff.com (7.2007)

"Beller makes us rethink the symbols and ideas of patriotism to which we are daily exposed, and calls on us to question our own relationship with the U.S., love, war, bigotry, hate, sex, the French: Beller covers it all with sophistication and a full throttle performance."
Carley Petecsh The Brooklyn Rail (7.2007)

"Despite the daunting standard, it's easy to see why Beller chose this work of genius to adapt. References to dance in No Exit beg for animation with movement. And Beller boldly embellishes with her own text. The layering of her philosophy on Sartre's reflects the fresh light of today-the dancing life-from an original and vital, and decidedly female, choreographic voice. We exit feeling liberated."
Lori Ortiz Attitude Magazine (8.2006)

"You Are Here draws me in with its edgy juxtaposition of humor, disorientation and creepiness."
Deborah Jowitt The Village Voice (4.2006)

"Soul-searching is fun to watch in Alexandra Beller’s You Are Here. When the dancers share the stage, their characters, ably inhabited, collide into one another with bodies and words. When they’re alone, they crash into their souls."
Nana Ekua Brew-Hammond The Metro (4.2006)

"Alexandra Beller made her mark as a member of the Bill T Jones/Arnie Zane troupe, affirming a place for queen-sized dancers on the concert stage. Her own work blends theater and movement, and You Are Here, choreographed in collaboration with a dynamite cast, hit home with astute choices and intense performances. Beller and her dancers fashioned a fascinating, deeply haunting, claustrophobic world of frustrated desires, an existential hell and a work that deserves longer than a weekend."
Gus Solomons Jr. Gay City News (3.2005)

"Why Things Fall (is) an athletic, mercurial and dynamic dialogue with fate."
Theodore Bale Boston Herald (2.2003)

"We Sink As We Run refreshingly flips both dance and theatre on their respective heads. The movement becomes a vehicle for the words, yet the dance is anything but pantomime. Finally, art that shows us we can believe in the power and balance innate to the paradox of our own experience."
The Kalamazoo Gazette (10.2003)

"Probably best known as the little dynamo who tore through the Bill T. Jones/ Arnie Zane Dance Company for six years, Beller proves that she just as exhilaratingly exuberant in her own work. She is also an impressive actor as well as a choreographer with smart, zany ideas."
Jennifer Dunning The New York Times (2.2002)

"Beller is a witty talker as well as a powerful and voluptuous mover. The concert was full of smart ideas. She is engaging... a seductive mix of bravado and despair... hilariousy perverted. I was charmed..."
Deborah Jowitt The Village Voice (11.2001)

"Beller is making intelligent, engaging dance...visually compelling, insightful and humorous. (She is) an articulate, confident choreographer with a clear idea about how to shape a piece's trajectory through time."
The Columbia Spectator (10.2001)

"When she dances, you're bowled over because, while her anatomy leads you to expect an earth goddess - weighty and rooted - she's quick, light, and buoyant, with a mercurial liquidity in her joints...she becomes one of the jazz world's night creatures - a sultry, savvy harborer of secrets that hide from the sun."
Tobi Tobias New York Magazine (7.1997)