The New York Times – Jennifer Dunning, 2008

“WeDOGS is charming… imaginative… harrowingly beautiful. Mary Seidman has spent a lifetime watching dogs, and managed to make the dogs’ antics as much dance as canine behavior.”

NY The Daily News – Amy Sacks, 2008

“The choreography and language of one local dance company has cleverly gone to the dogs”

OffOffOff.com – Quinn Batson, 2008

“Seidman deserves kudos for the obvious hard work and relentless exploration of dog behavior involved in making WeDOGS. The dynamic range of this evening-length show is impressive. It would be easy to dismiss WeDOGS as choreographic folly, and some of it is, but the moments that work and the appreciation and laughter of the audience make it something more. Give choreographer Mary Seidman credit for finding good dancers, translating the tics and foibles of dogs to human bodies, and then fully exploring the possibilities.”

The New York Times – Roslyn Sulcas, May 10, 2007

Who Will Roll Away the Stone? at La MaMa Moves Festival? May 5 and 6, 2007 “emotive and beautifully performed.”

New York Press – Chris Dohse, June 18-19 2005

Freewheeling
Freewheeling Sitelines Project—June 11, 12, 18, 19, 2005 12:30-2:00 PM “Sometimes an event reminds you to love New York…. I’m on my way to see the first of an installment of Mary Seidman’s Freewheeling, a 10 minute or so traveling spectacle for dancers on bikes performed at seven stops across the southern tip of the island, part of Lower Manhattan’s Sitelines series. The cyclists’ synchrony is an immediate exercise in delight. They play David Homan’s rhythmic score for bells, whistles and horns as they circle carefully with shy smiles. … On the walk back uptown, the smacked-down scatter of the city seems synchronized and alive, reorganized by Seidman’s ingenuity.”

Charleston SC Tribune – Nada Arnold, June 11, 2004

Piccolo Spoleto Festival, Charleston, SC
“Cutting edge choreography and bravura execution by an exquisitely schooled, international cadre….be prepared for the sacred and the profane. Seidman spares no emotions.”

The Village Voice – Deborah Jowitt, March 2003

“Who Will Roll Away the Stone?” at Merce Cunningham Studio, February 27, 28, March 1 and 2, 2003
“Seidman’s accomplishment is the way she builds and deconstructs an architecture out of bodies without obliterating their humanity.”

Connecticut Post – R.A. Cleary, March 1, 2002

“The Whales’ Song,” It was truly a whale of dance program. A New York Dance troupe, Mary Seidman and Dancers, made a splash as performers with puppets portraying 18 foot long whales were featured in a state premiere. The dancing was amazing.”

The Big Apple Parents Paper – November 2000

“The Whales’ Song,” This fantastic and magical tale is brought to life by Mary Seidman and Dancers, in a dance performance for children integrating storytelling, music, and dance. Six dancers, three actors, and actress Susan Sarandon narrating the story.

The New York Times – Jack Anderson, November 25, 1997

“Heart Meridians” Mary Seidman and Dancers offered two ambitious works on Thursday night. The new Heart Meridians, inspired by the “Family of Man, ” Edward Steichen’s anthology of photographs celebrating human unity, and a poem by Carl Sandburg, in praise of all people. Photographs of faces and street scenes by Denise Adler were projected on a screen, as were video sequences by Charles Dennis showing dancers in motion. Choreographically, the work began well when a crowd marched through the church to a taped score by Richard Einhorn. Children and adults mingled together and evoked a busy city street.”

The New York Times – February 13, 1995, Jennifer Dunning

“Between the Lines” at Joyce Soho, opens with a striking image of performers in dark, flapping overcoats coursing through bluish air. Some seem momentarily blind. Others shiver. Performed to Shumann’s “Kresleriana” Between the Lines can be seen more rewardingly as a pure dance work with threads of vivid emotional nuance woven into the whole.”

May 24, 1990, choreographer Kenneth King

“Shades of Green” Mary Seidman recently premiered a truly extraordinary dance, and it deserves to be seen more widely. Its beauty, strength and ambition surprise the viewer because we rarely see a major choreographer or company that even attempts to span and integrate the generations–a rare sight indeed. The dance shows a complete, assured, control of the art and craft of choreography—it is seamless, and transports the viewer beyond its structures and inner workings. It is an accomplishment of spirit and action, and is, therefore, thrilling to behold.”