Press

"Only their faces are exposed, covered with a sheer piece of white fabric and smiling wide. Smiling but not happy. Their unsettling demeanor is embodied in their direct and specific movement qualities, like they are dolls on a string.” - Mary Jane Agnew (ODC Dance Stories) READ MORE

 "'It was very cathartic to allow ["and then life was beautiful"] to unfold out of me, and it allowed me to create from a very honest place, rather than being concerned about what people might want to see,' [Jamila] says.” - Steven Vargas (L.A. Times).  READ MORE

"L.A. Contemporary Dance Company… performed it flawlessly Friday evening in a touring presentation at San Francisco’s ODC Theater. …It's one hour of highly theatrical contemporary dance [with] a distressing undercurrent. The costumes alone are worth the trip.” - Jennifer Norris (Jen Norris Dance Reviews) READ…

"LACDC is rapidly becoming one of LA’s strongest companies... With three world premieres on the program, Artistic Director Jamila Glass has guided to greater heights of professionalism.  The work presented was powerful and the cast is probably one of the strongest since LACDC was co-founded in 2005 by Kate Hutter Mason."

"[George's] dance vocabulary runs the gamut from modern to jazz, ballet to street, with a deft touch of musical theater tossed in. The movement emanates from the core with the torso always in use and the arms beautifully rendered. With small gestures or perhaps a nod of the head [he] captures the musical accents and innuendo throughout. He understands the need to keep the stage moving, yet also knows when to slow it down for a solo or unison work…

“In Roderick’s piece, there is a bone rattling and like, goosebump-inducing feeling of…No, we aren’t the same and it’s really wrong to make people feel like they have to be. … Even still, three days after having witnessed it, I’m blown away.”  - Dana Wilson (Words That Move Me Podcast)  | Listen to full episode HERE

"The music that George chose was influenced by MAGA movement and this impossible desire of reversing time to what some considered ideal – the white picket fence, couples where the wife stayed home while the husband worked, and what was seen on TV during that time that reflected and/or influenced what was viewed as normal…

[The film] is an intense, mysterious and somewhat ritualistic work during which Aguirre brilliantly exploits the use of two choreographic techniques: repetition and unison to create what he describes as the “harmony between the heartbreaking and the subtle beauty of what happens on the tiny, improvised stages of invisible nature…

CLICK HERE to read a feature on the short film "LOST MIND" (directed by Sara Silkin) in Dance Magazine.

CLICK HERE to read about our new Artistic Director's journey as a dancer, choreographer, and filmmaker.