“Ms. Tayeh’s choreography — expertly performed by a delightful and delighted polymorphous ensemble — is a perpetual motion machine of often bruising sensuality. Standard period fare like the cancan (bien sûr) and La Danse Apache is reinterpreted with electric wit.”

-Ben Brantley, New York Times

"Staged with resonant economy by the talented Anne Kauffman, with sharp and subtle movement direction by Sonya Tayeh, 'Hundred Days' is cabaret as cri de coeur, and it is advisable to watch it with a handkerchief at the ready." - Ben Brantley for New York Times


“Sonya Tayeh’s you’ll still call me by name swerves between busyness and calm, noisiness and silence, ecstasy and despair. It’s also hugely entertaining with no qualms about sucker punching you in the gut with its overt emotion.  So succumb.” -Dance Enthusiast


“The twirling, stomping, hysterical choreography by Sonya Tayeh and the haunting, ululating music by the Bengsons marvelously sustain and heighten the drama...” - Jesse Green, Vulture


“Fists fly with all the fury an action fan could want.  Legs flash from the hip like lightning strikes.  Twirling kicks and jabbing arms all but set your own head spinning.  The fight sequences in Kung Fu, the new play about Bruce Lee by David Henry Hwang, bristle with kinetic drive and an innovative combination of dance and martial arts.”

- Charles Isherwood, New York Times


“Tayeh invents astonishing moves and chameleon choreography...” - Marilyn Stasio, Variety


“This tackling of tough psychological territory, with a powerful physical style... places Ms. Tayeh in the Graham tradition. She’s kind of like a great granddaughter of the Graham style because the physicality defines the emotions. Sonya is part of our family tree.” 

- Janet Eilber (Artistic Director of Martha Graham Dance Co.) for New York Times