“Every moment matters, even when not much seems to be happening.”
New York Times—3/6/2024

“For weeks afterward, friends and colleagues that came to the show were convinced that the piece didn’t finish, and every conversation they had with me was a continuation of it.”
Blaze Ferrer, The Chocolate Factory’s Super Hot Blaze ‘Cap—5/8/2020

“Effortlessly elegant, . . . Thoughtful in its looseness, . . .”
New York Times—4/8/2017

UNTITLED, Christine Shan Shan Hou—4/13/2017

“A montage of facial expressions feels like a palindrome at the point of turning in on itself.” IDIOM Magazine—4/15/2013

Interview, Time Out New York—3/8/2013

Eva Yaa Asantewaa’s “Playing Favorites . . . of 2011” Group Dynamics and Visual Sensitivity and Ursula’s performance in It listed among the year’s best performances.

“Ms. Eagly is one of the few choreographers I can think of whose work actually frightens. She has a tall, unbelievably fluid body (her every joint looks double), a mane of blond hair and, in performance, the gaze of someone only pretending to be human. In Fields of Ida, surrounded by floor and table lamps from her apartment, she hinged and lunged, folding her long limbs in ways they should never be folded. She looked like a creature out of Blake’s fantastical engravings.”
The New York Times—10/10/2009

“Ms. Eagly’s darkly humorous, often violent imagination is to be treasured, and cultivated. You want to follow her rabbit-hole logic, even when stymied by it.”
The New York Times—1/30/2009

“spooky, languid…strange, bewitching”
The New York Times—4/5/2008

“always quirky, fun, disturbing, funny and unexpected”

“quirky, with a bizarre, dark logic that is mysterious and intriguing”
Inquisitive Owl—4/9/2008

Movement Research Critical Correspondence—2006 Retrospective

Movement Research Critical Correspondence Interview—4/8/2006

The Village Voice—11/11/2005

The New York Times—8/27/2005


The New York Times—9/1/2002