REVIEWS:

If you're looking for diversion, pop scores or a Fred-and-Ginger kind of night, "Flesh," an evening of new choreography at Highways Performance Space, is not recommended. If, however, you're willing to go to the Planet of Pain, populated by deep-thinking, angst- ridden dance-maker Erica Rebollar…will take you there.”

At least that's what they did Thursday, when Rebollar, who bears a resemblance to Catherine Zeta-Jones, joined the elastic-limbed Efka Kvaraciejus to perform "Hush." Set to a bristling tape track by Charlie Compaigna -- its gunshot sounds give way to elegiac cellos only at the end -- this half-hour tour de force of stealth moves is wrapped in a tragic love story.

Rebollar's "The Time It Takes to Love" begins with a previously reviewed solo, "Hunter/Hunted." As before, Rebollar dazzled
with her signature martial arts/yoga variations…One longed for Rebollar to reappear; when she did, in a coda, it was as if the
piece came back to life.

“Primeval pain sets the scene in 'Flesh';

Angst is overriding in this suite of newly choreographed works.” Dance Review,
Victoria Looseleaf. LA Times, Calendar Aug 23, 2003

“Since one of them, fortunately one of the better ones, Erica Rebollar, brought two works…The revelation of these two evenings came from the Spanish-born but American-trained Rebollar.  An exquisite dancer the softest of descents and rebounds, an ability to shift weight and direction with great precision, and a knack for constructing tightly constructed pieces.  Hunter/Hunted and Hope Code took advantage of a varied training with must have included Asian as well as more conventional Western styles in addition, probably, to martial arts and yoga.  The deep lunges with one leg straight out to the side, the open body postures and the filigreed hands looked as though they stepped out of a traditional Asian dance drama.  Yet the speed, the force of attack, and the complex way of layering material were assertively of today.  In Hunter/Hunted, set to percussive score by David Karagianis, Rebollar deftly shifted back and forth between embodying the hunter and her prey.  She gradually tightened the noose until at the end the two merged, as her fingers clenched the imaginary mirror – an image with which the piece had opened.  It will be fascinating to see where this talented artist takes her choreography which at this point is still tightly connected to her own physical training.
 

“One Night Stands” Dance Review, danceviewwest:writers on dancing,
Rita Felciano, July 22, 2003

As before, Rebollar dazzled with her signature martial arts/yoga variations…One longed for Rebollar to reappear; when she did, in a coda, it was as if the piece came back to life.

Primeval pain sets the scene in 'Flesh'; Angst is overriding in this suite of newly choreographed works". Dance Review,
Victoria Looseleaf. LA Times, Calendar Aug 23, 2003

“Another showstopper: ‘When the Bones Lie Open,’ Favand’s collaboration with guest dancer-choreographer Erica Rebollar, was a primeval romp set to Ron Bartlett’s arpeggiated score…”

Victoria Looseleaf, “‘Daybreak’ flows into pertinent themes,” Dance Review
LA Times, Calendar, May 24, 2003 

“Erica Rebollar’s new ‘Hunter/Hunted,’ saw the choreographer-   dancer in thrilling variations on yoga postures.”

Victoria Looseleaf, “Show must go on, even if the accompanying music doesn’t; A technical snafu notwithstanding, L.A. Dance Invitational impresses with a strong roster of talent,” Dance Review,
LA Times, Calendar, June 9, 2003 

“Erica Rebollar’s ‘Hope Code’ was a severe but arresting solo incorporating martial arts poses and suggesting a quest for both transcendence and self-control…”

Chris Pasles, “Strong steps forward,” Dance Review,
LA Times, Calendar, June 28,2003.