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Marcia Milgrom Dodge

Beauty and the Beast

Belle, Jade Jones, sings HOME

"This show is an unqualified visual triumph… Opening number "Heyday" evokes pre-Crash giddiness, choreographer Dodge expertly adapting Roaring Twenties dance into something fresh and unique. Best of all is Dodge's athletic construction team showing off for the ladies at "Lunch Time," an exuberant reflection of character desires performed so high up it takes your breath away."
Los Angeles Times:
"The show reaches its pinnacle late in the first act with the number 'Lunch Time,' in which the laborers show off their acrobatic skills on the girders to impress female passersby. The set and projections work together like clockwork; Dodge's choreography is at its playful and muscular best…
"The show abounds in theatrical imagination, ingenuity and passion."
OC Register:
"Marcia Milgrom Dodge's direction and choreography blend seamlessly on La Mirada's stage, creating a fast-moving show in which even talk of procuring steel, concrete and marble is translated into breathless action and even more breathless dance routines. Dodge's cast soars, from its leads to the 19 versatile chorus members who essay so many supporting roles that the stage seems bursting with humanity."
Stage Scene LA:
"A pair of stellar lead performances, a sensational young ensemble executing director- choreographer Marcia Milgrom Dodge's thrilling dance moves, and the fascination already built into the story behind the construction of NYC's most iconic landmark are the best reasons to catch Empire The Musical…"
Tin Pan LA:
"What immediately stands out in Empire is the suburb choreography by Marcia Milgrom Dodge—a smart and energetic blend of period, contemporary, and ethnic dances. The show's opening company tap number "Hey Day" lets you know right away that you're in for a good time. One of the most impressive numbers in the show is "Lunch Time" performed by the muscled Laborers. Here the music gets us started and Milgrom's choreography takes over to tell the rest. An impressive display of dancer tricks (back flips, cartwheels, handstands etc.) and physical choreography that is absolutely breathtaking. The dance in Empire is a mix of Anything Goes and Newsies to the highest degree."
Buck-ing Trends:
"Directed and Choreographed by Marcia Milgrom Dodge who keeps her direction fast-paced and always fascinating, …Yet as spot-on as her direction is, Ms. Dodge's vivacious choreography is even more so. "Hey Day" is a rousing tap number celebrating all the joy and excesses that made the 20's roar. Later, she even sets a number a top the frame of this ¼ mile high masterpiece-to-be! Titled "Lunch Time"—a "Gee Officer, Krupke-esque" group number sung by a chorus of rough-neck builders (in which we're humorously reminded of the reputation New York City construction workers have enjoyed for decades—and why–) the result is athletic, acrobatic and impressive, featuring them literally jumping through hoops to catch the eyes of the pretty girls who pass by the site. Ms. Dodge also shrewdly and appropriately incorporates steps from many genres and cultures of dance in homage to the multi-ethnic workforce that took the risks and did the work to make this modern marvel a reality (–and very deservedly, on opening night it practically stopped the show!) There's even a rowdy conga-line to liven things up late in the second act, and the finale, which takes place on the viewing platform at the top of the newly constructed über high-rise tenders the kind of unabashed ebullience for which Broadway is renowned!"

The Secret Garden
Baltimore's Child:
"Excellent ... Touching ... Outstanding"
Baltimore Sun:
"Fluid, subtle guidance [by] director/choreographer Marcia Milgrom Dodge."
BroadwayWorld - Baltimore:
"Enchanting ... Well-cast and beautifully staged ... More than a few audience members shed tears over the bittersweet conclusion that sometimes the best way to honor those we have lost is to learn to live again."
BroadwayWorld - Washington DC:
"A magnificent and clever production ... an amazing group of actors whose voices bring goose-bumps ... not to be missed"
DC Metro Theater Arts:
"Marcia Milgrom Dodge's directorial and choreography choices are absolutely perfect ... absolutely gorgeous ... [a] magical experience."

Peter Marks, Washington Post:
"In its glorious opening tableau, "Ragtime" finds its purest, most exhilarating Expression . . More successfully than the lavish Broadway original -- Dodge manages to make the idea of a turbulently evolving America the star. . ."
Michael Toscano, DC Metro:
"Can less truly be more? Director and choreographer Marcia Milgrom Dodge gives a definitive answer to that often-asked question with her glorious, high-powered revival of Ragtime, now at the Kennedy Center's Eisenhower Theater. Dodge has carved away some of the original Broadway production's indulgences, and, as a result, the story of America becoming itself in the early part of the 20th century evokes even stronger emotions than before."
Brad Hathaway, Potomacstages.com:
"The new production of the musical "Ragtime" at the Kennedy Center in Washington is explosive and thrilling…"
Mary Carole McCauley, Baltimore Sun:
"Kennedy Center's $4.4 million staging is astounding . . .This restaging of the musical based on E.L. Doctorow's 1975 novel is exquisitely sung, superbly acted and emotionally stirring."
Paul Harris, Variety:
"Given America's recently heightened respect for racial equality, what could be more appropriate than a revival of 1998 tuner "Ragtime" in the nation's capital? The Kennedy Center has shrewdly obliged with Marcia Milgrom Dodge's lavish and impeccably mounted production, which is simply stunning in every detail. . . Credit director- choreographer Dodge for her methodical unveiling of this weighty story, particularly the fluid transitions from intimate scenes to crowded ensemble numbers, and perky moments of comic relief. The usical builds to a powerful conclusion, tugging at every emotion en route."
Trey Graham, City Paper:
"Marcia Milgrom Dodge's staging is never better, to my mind, than when the full 37-member cast starts tiny and builds big on bold ragtime edifices like the dazzling opening "Prologue"—an old-school Broadway overture reinvented, deftly introducing time, place, characters, and most every musical theme you'll hear all night."
Susan Davidson, Curtain Up:
"What makes this revival of Ragtime so successful is Marcia Milgrom Dodge's choreography and direction."
Download reviews of Marcia's production of RAGTIME:
Features on Marcia and RAGTIME:

Once on this Island
The Sag Harbor Express:
"An energetic and vibrantly powerful musical…A visually stunning piece of musical theatre…"
"Thanks to the enchanting production at Bay Street Theatre, "Once on This Island" feels right at home in the tropics of a South Fork summer…Around a campfire that flickers from the earthy floor of Troy Hourie's page-turning storyboard set, an ensemble of griots brings to life a Caribbean legend of undying love that survives a peasant girl's mortality…directed with an unwavering vision by Marcia Milgrom Dodge."
East Hampton Independent:
"With her fluid and creative direction and choreography, Marcia Milgrom Dodge makes wondrous use of fabric, light, and the actors themselves to delineate the world the play inhabits… "
The East Hampton Star:
"Bay Street's farewell to summer is a beautifully produced, ebullient musical…Perhaps it is Marcia Dodge's direction and choreography that are the key to a successful transformation from a Broadway event to a somewhat different and seemingly effortless production… One is reminded of Theatre de Complicite productions, which have been duly praised, but this production is in every way equal or a step above them."
The Southampton Press:
"...an ensemble of singer/dancer/actors wedded as closely and inevitably as dawn is to day, and a director/choreographer with endlessly fresh imagination and inventiveness. Marcia Milgrom Dodge's use of Bay Street's space is breathtakingly diverse, from wild dancing ensembles to emotionally gripping moments of love and tragedy to delicious puppetry to native takes on Japanese Noh Theater."

Ain't Misbehain'
Pittsburgh Post-Gazette:
"Dodge weaves song and dance together with finesse and self-deprecating humor."
The Times Union:
"This version of Ain't Misbehavin' is invested with new verve and flair by director/choreographer Marcia Milgrom Dodge's inventive, visceral staging."
The Pittsfield Gazette:
"As staged by Dodge, the action never stops. . .Dodge deserves tremendous credit for infusing the show with such life."
The Litchfield County Times:
"To the credit of Marcia Milgrom Dodge the show is a toe-tapping good time, packed with energy, variety, humor and an absolute love of music and life."
OnStage Magazine:
"Director & Choreographer Marcia MilgromDodge and her sassy troupe have made sure that there isn't
a dull moment in the whole shebang! ... Under the inspired hand of director Marcia Milgrom Dodge, the cast sing, dance and act their way into the audience's heart."

On the Town
The Washington Times:
"Refreshingly, Marcia Milgrom Dodge seems unconcerned by the shadow of Jerry Robbins. . .Her dances follow the themes of the original. . . but boast their own vitality and identity. From a gemlike pas de deux sidewalk encounter to a dreamy Coney Island boxing bout and an idealized, dancing Gabey, Miss Dodge's work is breathtaking."
The Washington Times:
"The dancing has a jump-for-joy explosiveness... a second act dream ballet adds sizzle to the sinew."
The New York Times:
"It's a very hot-blooded show... Marcia Milgrom Dodge's juicy revival never lets you forget it for a moment, piling on sexy performers and combustive dances that goose your pleasure points with their hot-to-trot exuberance ... It's fitting that a female director should hit the bulls-eye with this urban fantasy... Under Miss Dodge's confident direction, the production has the fluency of a ballet, even when the performers are not dancing. This lightness of touch enhances the aura of the show as a modern fairytale…"
The New York Post:
"This new staging by Marcia Milgrom Dodge is as bright and shiny as a new penny found on an old city street. . .Dodge's direction proves speedy without haste and effective without strain."

Of Thee I Sing
The Washington Post:
"Marcia Milgrom Dodge has provided jump for joy choreography... it pours effusive tap-dancing on top of everything!"
The Washington Times:
"Marcia Milgrom Dodge builds her dance production numbers into the highlights."

Closer Than Ever
The Globe & Mail:
"imaginative & clever, fast-paced choreography are entertainment enough"
The Washington Times:
"Marcia Milgrom Dodge's musical staging provides moves that heighten the comedy and add a sting of irony..."
San Francisco Enquirer:

Casino Paradise
Philadelphia City Paper:
"The staging is in, a word, brilliant."

Merrily We Roll Along
The Olney-Courier Gazette:
"Choreographer Marcia Milgrom Dodge keeps the performers in motion. The most inspired scene in which Frank, Mary and Charlie go spinning across the floor on rolling chairs, taking their piano, typing table and desk with them!"

Music Man
"Marcia Milgrom Dodge makes a brilliant debut with City Opera as choreographer for The Music Man, no small assignment in this dance-filled show. The SHIPOOPI number is a real hoedown imaginatively transformed by most of the dance predilections of pre-World War I America."

Sullivan & Gilbert
"...lively choreography keeps the musical proceedings light and bouncy."

She Loves Me
The News American:
"Marcia Milgrom Dodge does a selfless job of invisible choreography. he makes us feel as if the characters are never really dancing, just moving to the giddy spirits within them."

A Funny Thing Happened on the Way to the Forum
Sacramento Bee:
"All the surprises in the superbly inventive direction of Marcia Milgrom Dodge...were met with often-explosive roars of laughter, bursts of applause and yells of delight."

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