“There is no in or out in Stallings’ Halo no separation between up and down, beginnings and ends [....] the dancers even attempt to erase the line between us and them. The expressed goal of gloATL is to bridge the gap between artists and audience; happily, that isn’t entirely successful, since these dancers are too special to mesh entirely with the crowd. This is a work without boundaries, filled with glorious dance.”
danceviewtimes, Martha Sherman
“exorcising Man” is an un-self-conscious surprise a moment, with a powerful solo and a duet with distinctive rugby-scrum partnering at its center.”
New York Times, Jennifer Dunning
“As the work ended the audience went wild in approval. Not an ‘insider’ audience. A real honest to God audience of real honest to God people.”
World Dance Reviews, Donald Atwood
“In gloATL’s Maá, the music and choreography often conjoined in exquisite synergy and occasionally in a engaging, sporting competition of sorts.”
BalletCo, Andrew Alexander
“One gets the feeling that the body is broken down into its component parts, but what is strange at first, in the combination, is a fascinating study of mobility.”
Theater Augsburg
“They are by turns goofy and tragically self-conscious, but in the end, as they limp and stutter in awkward embrace, they are glorious, like two who have found true recognition in another.”
The Boston Globe, Janine Parker
“Somewhere in the middle of the very peculiar and fascinating ballet by Lauri Stallings for American Ballet Theater, the house lights come on and a random set of people in street clothes suddenly wonder on stage, expressionless. Everything’s off-kilter, and that’s the nice thing about it.”
Associated Press, Jocelyn Noveck
