"Brilliant...Two Huts is just fabulous. The mix of words and movement—I don't know where it comes from or why it's so engaging, but it is. Cryptic, poetic, a little loony, dreamlike, glamorous, dotty...& just as funny as when I first saw [Skura's work] in the 80s. But this was more fully developed, with strange, disconnected yet connected narrative, with words being hung on invisible hangers." Wendy Perron, Editor in Chief, Dance Magazine

"it careened from hysterical to somber and many places in between so deftly I was happy just to ride along." Sandi Kurtz, Dance Writer, Seattle Weekly

"Vibrant performances…Full of texture, emotion and eventually, transformation. Skura has a verbal acuity that cuts to the heart of what matters most to her." Deborah Wingert, Eye On the Arts, NY

“It's the fierce originality & brave poetry bubbling up beneath the steps that make her an artist for all time… Skura is a great American experimentalist” Patricia Tarr, Editor in Chief, 2wice Magazine

“Stephanie Skura constructs new meanings even as she demolishes musical & choreographic preconceptions.” Jack Anderson, New York Times

“Fierce intellect and rhythmic intuition….Nose to the Ground is surely the sleeper dance program to emerge this year.” Jean Lenihan, Seattle Times

“Her dances range from subtle & introspective to ballistic or eerie, and are always physically exhilarating and, somehow, essential."”Lodi McClellan, Seattle Weekly

“One of a handful of local artists who are changing the way we see theater” Matt Richter, The Stranger

“With a sly sense of humor, a humane spirit & impressive physical moves executed without apparent effort, 'Lush Rites' was the best show I've seen in a long, long time…. a dance so poised, so confident, so full of wit & innovative moves, it didn't have to take itself deadly seriously to get the respect it deserved.”The Stranger

“A modern dance court jester, Stephanie Skura makes one laugh at her dances. then, like the best of jesters, she makes one think.” Jack Anderosn, New York Times

“Cranky Destroyers is the best dance of the decade.” Sally Banes, Village Voice

“Stephanie Skura takes on Beethoven's Fifth & modern culture to splendid effect in Cranky Destroyers. She pits reckless, hurtling movement against Beethoven's score. Both come up winners.” Burt Supree, Village Voice

“Skura's direction is just wonderful from beginning to end. Instead of massacring the delicate script, Skura inflates it, tricks it, ornaments & violates it, using her trademark blend of signal code on mercury movement style…emotional, inventive, & entertaining.” Sarah Schulman, Outweek

“I was in awe. Where Skura's hand touches, conventions are broken, emitting sparks. A delightful show…a veritable embodiment of disrespect. That's what makes her world dance theater so amusing, so fresh, so eternal.” Vienna Neue Kronen Zeitung

"Stephanie Skura's work should never be missed. Like the best satires, you were never really sure whether to laugh or cry. A gem. God bless her!” William Harris, East Village Eye

“Skura has caught something at the pond of narrative -- the ambience of a blustery age all too much like our own. And instead of stuffing it & mounting it, she's decided to throw it back. Courageously, she's casting in open water. She gives us a lot to look at, but no easy formulas or resolutions. You may get seasick, but you wont' get bored.” Elizabeth Zimmer, Village Voice

“Exploring her dancers' physical limits is one of Skura's primary concerns. They are virtuosic on their own terms, athletic, highly mobile in their upper bodies, & rarely constrained by conventional behavior.” Deborah Jowitt, Village Voice

“Stephanie Skura's zany, difficult, & wildly virtuosic choreography is about humor…Skura's work is funny because it is real.” Elle Magazine

“It's Skura's direction that makes the show memorable. It has the sort of determined innovativeness & exciting commitment to experimentalism that I associate with the golden age of off-off Broadway in the 60's & 70's…The result of all this looked like no other show I've ever seen, & I'm certainly eager to see what more Skura can do to undermine Western drama. But I hope she doesn't abandon dance-making entirely. Someone should give her a genius award so she can work all the time and not worry about money.” Henry Baumgartner, Attitude

“Her dancers, extraordinary performers all, come to seem larger than life, & their activities take on implacable power.” Village Voice

“The dances proved compellingly eccentric, unsparingly propulsive post-modern athleticism, delivered with nothing held back…demonstrating that dancing can bring personal transcendance.” Los Angeles Times

“In dance terms, Stephanie Skura is a bit of a lifesaver. Her performance proved that dance can preserve the nuance & substance of real life without sacrificing the kinetic power of trained movement.” Grand Rapids Press

“Skura's dance goals come alive in presentation. The dancing is magnificent, invigorating, rigorous, athletic & daredevil. Skura & her virtuosos trot, trip, skip, leap, shimmy, thrust, collapse, dash about & bounce off each other like kids in a playground. There's a childlike ebullience to the piece. "My basic desire with dance,' Skura has written, 'is that it be more like life: multilayered, complex, sometimes interrupted, frequently ambiguous, filled with feeling, filled with thought, awkward at times, occasionally confused & even hesitant, showing attempts & failures as well as accomplishments.' In this most welcome & original program, she has realized all of those goals.” Chicago Tribune

“Skura is brilliant. During the performance I wrote on my program that Skura's work accepted performers & their bodies for what they are, rather than molding them into a preconceived shape. She recognizes that directing can consist of establishing completely invisible contexts from which performers can develop visible manifestations. Skura provides the air for the balloon rather than the balloon itself. Skura's solos were about dance & performance, both brilliantly executed. Her dance solo had the verve & flexibility of the creative process itself. In both solos, Skura's presence was naked & courageous, an exploitation & an admission of the vulnerability at the heart of all performance.” Denver, Up the Creek

“Choreographer Stephanie Skura could pass for a tour guide of the mind.” Los Angeles Times

“Delightful and outrageous.” Santa Barbara News-Press

“One of choreography's foremost wits…A group of little people tore in & out, involved in kinetic adventures that were utterly opaque & at the same time utterly intense. It was as if Beethoven's score had been poured into the deep earth and these creatures, with their hot little dramas, had risen out of it.” Joan Acocella, Seven Days, New York

“The personalities of the performers are allowed to shine through the fast-moving, integrated choreography that bulges, breaks, spits & slithers through the space.” Albany Times-Union