milkdreams (for Alexandra Beller/Dances)

Regardless of whether you know Ms. Beller’s intent, if you give it time, you might see something in this movement vocabulary; something that is simultaneously very old and very new – like the recollection of a beginning from which all things since began.
— Critical Dance, July 2015
the work took the time to let us see and continue seeing complexity inside of apparently simple efforts, but it did this in a gentle manner. So, the intensity of the work for the performers became slowly apparent over time. There’s a heavily learned non-focus that clearly required discipline and practice.
— Culturebot, July 2015
delicious movement, from a place so deep that it emerges as truth.
— Carrie Stern, July 2015

Sense and Sensibility
(Bedlam Theatre Company)

Alexandra Beller’s choreography beautifully recreates the formal dances of the period.
—, December 2014
Indeed, almost everyone fares much better in Sense and Sensibility. He’s aided at every stage especially by the choreography of Alexandra Beller.
— Huffington Post Entertainment, December 2014

Two Gentlemen of Verona
(Hudson Valley Shakespeare Festival)

Choreographer Alexandra Beller’s driving disco dance sequences had us itching to pop out of our seats and join in, which easily happens at the end of the play.
— Roll Magazine, July 2014
Choreographer Alexandra Beller keeps the company rocking with one dance number after another.
— Times-Herald Record, July 2014
other stories expands Beller’s interest in the power of the personal — history, physicality, experience — and how it can affect movement. The individual stories/dances are evocative and moving.
— Carrie Stern, Brooklyn Eagle
What happens if we understand, or even adopt, each other’s narratives?’’ New York–based choreographer Alexandra Beller has asked. Her “other stories,” which had its world premiere at the Institute of Contemporary Art Saturday night, is her sophisticated attempt at an answer.
— Jeffrey Gantz, Boston Globe

(for Alexandra Beller/Dances)

“ is remarkable how much historical and emotional information Beller is able to convey in seamless and unobtrusive ways.
—, Quinn Batson

what comes after happy
(evening length show for Alexandra Beller/Dances)

...takes on the American pursuit of happiness head on through spot lit vignettes and sharply observed, often wickedly humorous character studies that could have been plucked out of a Broadway show...
—, 2009
It is always good to see an artist pushing at awkward, deeply felt realities, and Ms. Beller does so with a generous spirit… her choices are smart, including her fine dancers. They slide with aplomb between comic-pathetic exchanges and Ms. Beller’s full bodies, voluptuous choreography.
— New York Times, May 8, 2009

(repertory work for Alexandra Beller/Dances)

Beller’s performance is just that: impossible, absurd, delicate, dangerous and exhilarating. It’s also a performance that, for anyone seeing Beller for the first time, will tilt the mind towards the impossible, absurd, and so forth. Beller is famously lush, pillowy, curvaceous of physique, and I bring this up because the largeness informs so much of what makes her Dance Theater gracious and distinctive.
— Infinite Body, May 8, 2009
Sweet, smart, and exceedingly timely, egg is a witty nod at motherhood. Beller is a caregiver, a fix-it gal, a would-be savior. Alas, to be a mother is to be tender, daring, and decidedly imperfect. To be a mother is to be deeply human.

(evening length solo show by Alexandra Beller)

Pick any topic over which conservatives and liberals lock horns—immigration, Abu Ghraib, abortion, politicized religion, same-sex marriage; Beller visits them all. How she does it is pretty astonishing. Beller—a bright young force on the experimental scene—dreamed up the idea and the choreography. And her voluptuous, no-nonsense presence socks almost every point imaginatively home.
— Deborah Jowitt, The Village Voice, July 2007
The masterful timing and pacing of this show reflect Beller’s years of experience as a performer...Taking the idea of love and relationship and sex and turning that into an exploration of one’s relationship with a country is a concept that requires such an excellent performance to make it work.
— Quinn Batson,, July 2007
Beller makes us rethink the symbols and ideas of patriotism to which we are daily exposed, and calls on us to question our own relationship with the U.S., love, war, bigotry, hate, sex, the French: Beller covers it all with sophistication and a full throttle performance.
— Carley Petecsh, The Brooklyn Rail, July 2007

You Are Here
(evening length quartet for Alexandra Beller/Dances)

Despite the daunting standard, it’s easy to see why Beller chose this work of genius to adapt. References to dance in No Exit beg for animation with movement. And Beller boldly embellishes with her own text. The layering of her philosophy on Sartre’s reflects the fresh light of today-the dancing life-from an original and vital, and decidedly female, choreographic voice. We exit feeling liberated.
— Lori Ortiz, Attitude Magazine, August 2006
You Are Here draws me in with its edgy juxtaposition of humor, disorientation and creepiness.
— Deborah Jowitt, The Village Voice, April 2006
Soul-searching is fun to watch in Alexandra Beller’s You Are Here. When the dancers share the stage, their characters, ably inhabited, collide into one another with bodies and words. When they’re alone, they crash into their souls.
— Nana Ekua Brew-Hammond, The Metro, April 2006
Alexandra Beller made her mark as a member of the Bill T Jones/Arnie Zane troupe, affirming a place for queen-sized dancers on the concert stage. Her own work blends theater and movement, and You Are Here, choreographed in collaboration with a dynamite cast, hit home with astute choices and intense performances. Beller and her dancers fashioned a fascinating, deeply haunting, claustrophobic world of frustrated desires, an existential hell and a work that deserves longer than a weekend.
— Gus Solomons Jr., Gay City News, March 2005

We Sink As We Run
(evening length trio with Mira Kingsley)

We Sink As We Run refreshingly flips both dance and theatre on their respective heads. The movement becomes a vehicle for the words, yet the dance is anything but pantomime. Finally, art that shows us we can believe in the power and balance innate to the paradox of our own experience.
— The Kalamazoo Gazette, October 2003
Strong, deft, emotionally resonant theatre
— Jennifer Dunning, The New York Times, March 2003
engaging, sophisticated dance theatre
— Tobi Tobias, The Voice, March 2003

Repertory (2000-2005)

Ms. Beller, who danced with Bill T. Jones, is known as a lush and hurtling force of nature with a brain.
— Jennifer Dunning, The New York Times, October 2004
‘Why Things Fall’ (is) an athletic, mercurial and dynamic dialogue with fate.
— Theodore Bale, Boston Herald, February 2003
Beller is an affecting actress as well as a ripe, lush mover.
— Elizabeth Zimmer, The Voice, June 2002
Since her debut in the Bill T. Jones/Arnie Zane Dance Company in 1995, Alexandra Beller has turned heads, not just for her vibrant and powerful dancing, but also for her “plus size” as a dancer. Her work (is) appreciated for its strong feminist statements, its insightful emotional content and its satiric and poignant humor.
— Johnette Rodriguez, Providence Phoenix, March 2005
Beller is a master of dialogue and moments that are, at once, humorous, insightful, humble and blunt.
— Nicole Pope, Dance Insider, February 2002
Probably best known as the little dynamo who tore through the Bill T. Jones/ Arnie Zane Dance Company for six years, Beller proves that she just as exhilaratingly exuberant in her own work. She is also an impressive actor as well as a choreographer with smart, zany ideas.
— Jennifer Dunning, The New York Times, February 2002
Beller is a witty talker as well as a powerful and voluptuous mover. The concert was full of smart ideas. She is engaging... a seductive mix of bravado and despair... hilariousy perverted. I was charmed...
— Deborah Jowitt, The Village Voice, November 2001
Beller is making intelligent, engaging dance...visually compelling, insightful and humorous. (She is) an articulate, confident choreographer with a clear idea about how to shape a piece’s trajectory through time.
— The Columbia Spectator, October 2001
Beller, a delectably curvy dancer, made an auspicious choreographic debut... Dangling Fruits of Joy or How to Make Love (was) smart, startling.
— Elizabeth Zimmer, The Village Voice, October 2001

Work with The Bill T. Jones/Arnie Zane Dance Company

Alexandra Beller is built like a burlesque queen and moves like a goddess.
— Joseph Carman, Dance Magazine, October 1998
Powerful is the word that best describes this dance goddess who grew up with body in a world of bone... Beller is a fascinating paradox, a woman of substance who moves like mercury.
— Mira Kingsley, MODE Magazine, September 1998
When she dances, you’re bowled over because, while her anatomy leads you to expect an earth goddess - weighty and rooted - she’s quick, light, and buoyant, with a mercurial liquidity in her joints...she becomes one of the jazz world’s night creatures - a sultry, savvy harborer of secrets that hide from the sun.
— Tobi Tobias, New York Magazine, July 1997
She performs with elegance. Precise small moves are balanced by the exuberance with which she flings her entire self into leaps and turns.
— Mary Grace Butler, The Berkshire Eagle, July 1997
She looks great, and the strength of her spirit glows. Sick of billboards lionizing slack-jawed teenagers with their ribs sticking out? Here’s a welcome role model for being just the size you are - and running with it.
— Sue Miller, Newsweek, April 1997
Sultry, and expressive, musical and unselfconscious.
— Cerinda Survant, The Oregonian
Alexandra Beller is a sexy, lyrical presence.
— Laura Bleiberg, The Orange County Register, LA, May 1997
Beller’s undulations to the languid saxophone of Eric Dolphy were astoundingly flexible and beautifully offset by razor-sharp whips and sparse, sustained poses; her round body, refreshingly atypical for a dancer, was mesmerizing.
— Wilamette Week, March 1997