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In Violent Circles (The Rite of Spring) (2013)

The Dance Enthusiast

Broadway World

Oberon's Grove



Jonathan Riedel in Dance Spirit magazine.

Look for Jonathan interviewed in the article, "Much Ado About Music," by Emily Macel Theys in the February 2011 issue. 

Or read the on-line version.

Ukrainian Eggs:  Terrible Tales of Tragedy and AlleGorey (2009)

"expressive physicality" - Time Out New York [four stars] http://newyork.timeout.com/events/fringe-festival/298332/4127105/ukrainian-eggs

"a brilliant tribute" - Backstage [Critic's Pick]   http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i8a16efbe1212c66b698adf9352ae8832

"a spell-binding performance" - nytheater.com   http://www.nytheatre.com/nytheatre/review_fest.php?p=100298

See Jack Anderson’s spot-on preview of RDT’s FringeNYC 2009 run in The New York Times here.

The Onion also thinks you should come. Ukrainian Eggs was dubbed one of "5 shows to see" in FringeNYC 2009 (that's out of 200+) by the A. V. Club, the arts and culture arm of NYC's ever-discriminating, beloved weekly paper. See the full article here. http://www.avclub.com/newyork/articles/body-fluids-and-jazz-hands-5-shows-to-see-at-the-f,31493/

Calling all families! Time Out New York Kids named Ukrainian Eggs among "Things to Do" for families in New York in August. See the article here. And at Joyce SoHo on November 1st, kids can come in costume and meet the cast following Sunday’s matinee.

Selected Press on Jonathan Riedel’s choreographic work

“...the small Riedel troupe is no amateur act when it comes to movement...Riedel has a mischievous, quirky sense of humor and is not afraid of overt narrative. Both qualities should serve him well in a dance world filled with relentlessly abstract works...” –Claudia La Rocco, The Associated Press

“Everything about the excerpt from Jonathan Riedel’s ‘Under My Skin’ was intriguingly odd but knowing. A nutty response to even nuttier music by Louis Prima, the piece showed off Mr. Riedel’s swiveling deftness and his off-kilter moving of groups on and off stage.” –Jennifer Dunning, The New York Times

The Ubiquitous Elephant (2005) Commissioned by the Limón Dance Company

‘Elephant’ succeeds…in capturing Mr. Gorey's antic view of life… shows promise with its hilarious non sequiturs. Mr. Riedel creates them through clever choreography that ranges from slapstick to insightful movement quirks for his eccentric characters… the work moves from confusion to bedlam.” -Jean Battey Lewis, The Washington Times

“Jonathan Riedel’s ‘The Ubiquitous Elephant’, based on Edward Gorey dark images, opened the evening. It featured a family of card-players who were haunted by a mysterious guest…The ubiquitous elephant in the room may have been death or aging. Who knows. What was clear was the family antics and dynamics were funny, but in a way that cannot be explained.” –Wendy Liberatore, The Daily Gazette

“Dolled up in period costumes and larded with slapstick, it’s a whimsical bit of dance/theater, part ghost story and part drawing room comedy.” –Tresca Weinstein, The Times Union

“The premiere was a pantomime. Riedel set it in an eccentric family of females, five members strong (and weak, for each had her flaws). There was a knock on the door and who should it be but a man, a strange man. From there the story spun adroitly. Riedel was skilled in setting up the situation, establishing the characters, developing the plot and ending with neither a bang nor a whimper but a bittersweet surprise…” -George Jackson, The DanceView Times

The Unsightful Nanny (2003) Commissioned by the Limón Dance Company

“Mr. Riedel’s ‘The Unsightful Nanny’ presented by the Limón Company on the afternoon of May 10 at the Joyce Theater, takes ‘The Gashlycrumb Tinies’ by Edward Gorey as its departure point. The dance, a cautionary graveyard frolic for a Svengali-like nanny (Mr. Riedel) and eight fractious charges, is an unqualified delight in part because of its nuttily abandoned, dead-on humor…The eight characters – who include a saucy flirt (Kimye Corwin), a wimp (Robert Regala), a vaporous waif (Kristen Foote) and a tattletale (Kurt Douglas)—also give the dancers ripe dramatic material…Mr. Riedel, a fledgling but very promising choreographer, has just the right goofy but solid composer in Saint-Saens.” -Jennifer Dunning, The New York Times 

“‘…a delightfully clever and musical work of dance theater. Mr. Riedel was inspired by Edward Gorey to create a comically morbid tale… For a piece that tells a story and communicates so much, ‘The Unsightful Nanny’ uses its music–by Camille Saint-Saëns–to excellent effect.” –Pia Catton, The New York Sun 

“...kicky, tongue-in-cheek...a cartoon of a dance; sort of a darkly twisted Mary Poppins fable.” -Diane Hubbard Burns, Orlando Sentinel

“Jonathan Riedel’s creation ‘The Unsightful Nanny’, which was inspired by [Edward] Gorey’s ‘the Gashlycrumb Tinies’, is imaginative and perky, containing the essence of the artist’s unique wit…The eight dancers involved here (all appearing convincingly as preteenagers), along with Riedel in the title role, all had a whale of a good time–and so did we…Riedel would surely have pleased the late Edward Gorey with the masterful way in which he captured the artist’s aura in his choreography and performance.” –Jennie Schulman, Back Stage

on Jonathan Riedel’s performing career 

“...physically beautiful and talented...body by Michelangelo, face out of Rimbaud...” –Tobi Tobias, New York Magazine

“Riedel is surely one of the most fascinating dancers the company has harbored. Entrusted with Chaconne, the famous long solo Limón made for himself…He represents, magnificently, the contemporary predicament…” -Tobi Tobias, ArtsJournal, Limón’s Chaconne 

“...a magnificent performance...Mr. Riedel triumphs...” -Anna Kisselgoff, The New York Times, Limón’s The Moor's Pavane 

“...fascinating to watch…” -Jack Anderson, The New York Times, Limón’s The Moor's Pavane 

“...Riedel is a joy to watch; … with a steadfast grace, unwavering in his strength and ability.” –Lena-Marie Stuart, Dfdanse (Montréal), Carla Maxwell’s Etude

“Riedel was musically masterful…the lack of apparent separation between music and man was… powerful” -Cecly Placenti, Ballet-Dance Magazine, Limón’s Chaconne

Brenna Monroe-Cook in Inferno, photo by Robert Polkosnik, 2004