Review Excerpts
Triptych:
"Triptych" is one of those curious pieces that come along every few years with unexpected, almost inexplicable, evocative power… It has core moments of striking emotional honesty that left this critic hungry to see it again.
Chip Deffaa (New York Post)2002
Trapped in Seven:
She (Simpson) painted a compelling theatrical portrait of someone who, after physical and spiritual turmoil, comes to suspect that, as she said at one point, “I’m still alive for a reason.” Perhaps part of that reason involves creating works like this solo.
Jack Anderson (New York Times) 1999
The Marital Bliss of Francis and Maxine:
Where is the Brecht to this Kurt Weill? And what a wonderfully zany pair this Francis and Maxine make dancing together in silent film style, mouthing grotesquely, and abandoning themselves in the wildest antics. Fay Simpson as Maxine is brilliant as she changes from Betty Crocker to a brazen butch, and then lapses into sad gamin, her voice falling right into place for each.
Betty Falkenberg (New Hampshire Gazette)1997
I advise you to step back in time, grab a glass of bathtub gin and join (in).
Liam P. Cusak (Chelsea Clinton News) 1997
Kurt’s Wife:
“Kurt’s Wife” (is) a polished theatrical production by the Fay Simpson Dance Theatre… Simpson is an accomplished performer able to risk body and soul in a moving, emotional portrayal which virtually brings her audience to tears in a searing rendition of “September Song.”
H.B. Kronen (Amherst Union-News)1994
D Train:
“D Train” is as hard-boiled as a gangster movie and as feverish as an Expressionist painting.
Jack Anderson (New York Times) 1993
General:
Fay Simpson risks marching to an unfashionable drummer…. She knew what she wanted. And she was content to go after it, in funny and sad pieces about the ills of modern society.
Jennifer Dunning (New York Times) 1992
Take Me Home:
This was a total theatre experience, one that was adult and rich. She is still a tough little blond, who can make you laugh and who can destroy you instantly. Her work is both true and funny. She turns the act of taking off her shoes into an artistic statement.
Bert Wechsler (Attitudes Magazine) 1992
Research and Development:
A short piece of slapstick dance-theater …set at the turn of the century to music by Andy Rosen. (It) is a witty, vibrant work whose sweeping, vigorous choreography lends the program a welcome note of merriment.
Stephen Holden (New York Times) 1989
Lover’s Apology:
Fay Simpson scored an easy knockout with the audience in “Lover’s Apology.” Dressed like a man and expressively adept at streetwise gestures, Ms. Simpson acted out the lyrics – with tornado force.
Anna Kisselgoff (New York Times) 1989