Penelope Freeh


What the critics say

Slippery Fish

“…completely original in all respects.”

– Caroline Palmer, Minneapolis StarTribune, October 2012


“…charged with a freshness of discovery and play.”

– Linda Shapiro,, October 2012


Paper Nautilus

“Perhaps nothing speaks to the talents of a choreographer more emphatically than a solo created for another dancer that both captures his uniqueness and gives it depth and context.”

– Linda Shapiro,, October 2012


Simple Folk

“In just a few scenes the choreographer imagines a captivating world — with a Dickensian feel to it — for a mischievous quartet of characters. Freeh demonstrates a deep connection to the music, revealing subtlety, unadorned beauty and even physical comedy within her finely crafted movement.”

– Caroline Palmer, Minneapolis StarTribune, October  2009


small aida

“Grand passions are in this woman’s DNA, maybe; no question they’re in her cheek and collarbones, her and co-star Stephanie Fellner’s fiery dancing, her sense of space, and her restless mind.”

– Lightsey Darst,, August 2008


We’ll Survive if We Don’t Protect Ourselves

“Freeh’s modern ballet is prickly as baroque music, detailed as crazy quilts, and smart in every flick of the wrist. Hurtle, thrash, stop/start of momentum, breakneck dash as long as the space allows, and then the slow elaboration of a hand: Freeh choreographs as if movement were the only way to project a self into the world.”

– Lightsey Darst,, August 2007


“From dancer and choreographer Penelope Freeh, expect the unexpected. Where many dance-makers fuss about technique to the detriment of meaning, Freeh uses movement as a search for meaning, beauty as a way to something.”

– Rohan Preston, Minneapolis StarTribune, September  2005


“Limbs become other; every pose is injured, altered. Above all, everything is changing, so that looking away for one second means missing a critical permutation.”

– Lightsey Darst,, September  2005


The Virgin in the Garden

“…won the honors for sheer imagination.…hit just the right emotional notes in a dance in which nearly every move was unexpected but seemed right.”

– Jennifer Dunning, New York Times, April  2000