Kun-Yang Performance Quotes


Diversions of Angels - "Kun-Yang Lin provides performances that certainly would have satisfied Graham's uncompromising standard." - Tony Angarano, The Hartford Courant, April 1994


In Graham's EL Penitente - "As The Penitent, Lin is lithe, dramatic and powerful." - Tony Angarano, The Hartford Courant, April 1994


"Rapturous and full bodied performance." - Deborah Jowitt, Village Voice, April 1995


"Lin drew me in and personalized it (Liberal Me) so that it could reach everyone... (and) gave us his 100%" -Valerie Szurdak, Casting Magazine, Spring 1995


In Anthony's Requiem, "Kun-Yang Lin sketches a range of emotions, from anguish to elation. He is not, in anyway, emoting. Rather the feelings seem to burst from his body, radiating out from movement wielded with strength, singleness of purpose, and fluent precision" - Ann Tobias, Danceview, Summer 1995


Doris Humphrey's Ritmo Jondo - "As the lead dancer, Kun-Yang Lin possessed the grace, commitment to detail, and raw magnetism that hypnotizes" - Sharma Howard, The Day, Connecticut


Humphrey's Lament for Ignacio Sanchez Mejias - "the excellent dancing and strong presence of Kun-Yang Lin and Randi Meare." - Deborah Jowitt, Village Voice, November 1995


Humphrey's With My Red Fires - "in an effecting lead cast, Kun-Yang Lin as the messenger." - Jennifer Dunning, The New York Times, October 1995


"Standout performances." - Jennifer Dunning, The New York Times, The New York Times, April 1996


Colin Connor's Natural Habitat - "Amy Larimer and Kun-Yang Lin... the supple, well-matched pair... Mr. Lin's sinewy strength was a winner, both visually and stylistically." - Pat Waring, The Martha's Vineyard Times, July, 1996


Anna Sokolow's Player's Project at Lincoln Center Out-of-Doors, "Kun-Yang Lin made up the proficient group." - Jennie Schulman, Back Stage, September 1996


Mary Anthony's Tabula Rosa - "Kun-Yang Lin cut through space like a knife." - Jennifer Dunning, The New York Times, December 1996


"Performed with an inner glow" - Muriel Topaz, Dance Magazine, March 1997


Mary Anthony's Cain and Abel - "Lament alternating with tenderness pervaded Kun-yang Lin's powerful portrayal of the fratricide." - David Lipfert, Attitude Magazine, No.12 1997


"Mr. Lin is a master of form and balance." - Jennie Schulman, Back Stage, Sep 1997


Janis Brenner's What about Bob - "a loving duet for two men, Luis Tentindo and the glowing Kun-Yang Lin... look as natural as breathing." - Deborah Jowitt, Village Voice, June 1998


Brenner's What about Bob - "impressive side-by-side unison work by Tentindo and Kun-Yang Lin." - Lisa Jo Sagolla, Back Stage, July 1998


"Stunning dancer" - Christopher Cook, Vice Magazine, November 1998


In Kun-Yang Lin's Rose Garden - "Lin possesses a dazzling combination of strengths, a gut sense of how to convert steps into emotion without forsaking technique that's mesmerizing to watch." - Nicole Peradotto, The Buffalo News, February 1999


In Brenner's The L Word - "Ms. Blum and Mr. Lin have the kind of expressive face that is rare in dance today." - Jennifer Dunning, The New York Times, April 2000


"Exquisite" - The village Voice, April 2000


In Lin's Poem of Arbos - "Both Lin and (Adam) Klotz display great musicality and physical energy. There is emotion between the two dancers that unfolds with the movement." - Amy Rumizen Cohen, The Buffalo News, July 2000


Anthony's Soliloquy - "a choreographic depiction of Hamlet's inner turmoil magnificently rendered by Lin." - Lisa Jo Sagolla, Back Stage, December 2000


"A magnificent dancer and actor." - Francis Mason, 96.3 WQXR-FM, April 2002


"An extraordinary dancer." - Jennifer Dunning, The New York Times, April 2002


"A charismatic performer" - Jennifer Dunning, The New York Times, June 2003