Hide and Seek, 2002 "  dancing with sharp angles and accents highlights very private encounters between one's own self and between oneself and another" "  Hide and Seek occurs in another world with specific rules and many games and in the end we are not in the same place as where we started - we have made a journey" Dr. Katja Schneider, Süddeutsche Zeitung
"  thoughtful and reflective in contrast with our hectic times" with "three brilliant movers" Out of the Blue, 2001 Malve Gradinger, Münchner Merkur "  in Lawrence's universe there are no overriding principles - instead all the elements dissolve and recreate themselves" "  The sovereign movement language and choreography is completely refreshing: at times continually grabbing the audience and at times clausterphobically shaking them, then also the contact-duets - full of expression - finally something more than just egomaniacal soul suffering. ...this breath of fresh air from the large world of contemporary dance on a small i-camp-stage makes you want more." "  impressive scenes - for example, a non-chalant pas de deux for Lawrence and Lamers or a trio of questions in which Michel Yang answers not only with oui but also with a heartbeat"     Isabel Winklbauer, AZ Dr. Peter Bönisch, SZ Under the light Observing, 2001 "  turns usual dance logic on its head" "  nervewracking lighting design...no chance to resist" "  a work of surprising emotional subtlety" "  ance with liveliness and precision" "  impressive in its simplicity" "  Mia Lawrence shows us a very evident truth that we always seem to forget. More than our thoughts, it is our body that guarantees that there is something like a "Me"."   Pieter T'Jonck, Die Standard, Brussels
Hide and Seek, 2002 A Dreamscape More Mysterious Than a Dream Fragments of sound, action and disjointed conversation blended in Mia Lawrence's new ``Hide and Seek'' to create a haunting, intimate dreamscape that poured out over the stage space recently at Dance Theater Workshop. The structure of ``Hide and Seek'' recalled Pina Bausch's linking of isolated, random-seeming events, but Ms. Lawrence created a more flowing whole. The eye was drawn to sudden small bursts of solo motion for three dancers who were frequently off kilter with crabbed limbs and hands that touched parts of their own bodies as if to check or explore them. The space was strewn with everyday objects like dance bags, a small stage light and chairs. The dancers also drew the outlines of their own and others' bodies with chalk on the floor and wall, even adding to an apparent chart of the dance. The ear picked up bits of taped and live talk, poetically mysterious, that conjured up a woman's cool interior life. Often, the talk came from a woman and a man (Ms. Lawrence and Ludger Lamers) who were seated diagonally across the stage from each other, speaking softly into hand-held microphones. In one quietly voyeuristic segment, the two stood over a seated woman who answered ``non'' or ``oui'' to their murmured questions. The sense of intimacy was enhanced throughout by subtle spotlighting and by the fact that Ms. Lawrence, a soft-voiced major player on the perimeter, was clearly pregnant. And the dancers - Michel Yang, Mr. Lamers and Natali Radelic - looked as if they had been chosen for their quality of inscrutable transparency. Guy Yarden designed and performed the equally mysterious sound and music score. The set design was by Jeanluc Ducort. By JENNIFER DUNNING, 8. April 2003 New York Times Was, wenn der Körper ja, das Herz aber nein sagt? (Mia Lawrence spielt hide and seek in München) Ihre achte, das kurz vor Weihnachten in der Münchner Muffathalle uraufgeführte hide and seek, ist straffer gebaut als das Vorgängerstück. Das Stück beginnt als offene Situation und staffelt sich in Schichten in den Raum. Der winklige, scharf akzentuierte Tanz wirft Spots auf äußerst private Begegnungen mit sich selbst und den anderen. Dann verschmelzen zwei Körper zu einem Leib mit mehreren Gliedmaßen, dann reibt eine Tänzerin die Stirn am Arm des Partners, dann klimpern eng verschlungene Finger, bevor sich die Hände wieder voneinander lösen. Im Dreiecksspiel treffen meistens zwei, seltener alle drei Akteure aufeinander, doch die emotionale und körperliche Intimität des Trios ist jederzeit spürbar. Die Intimität, die ruhige Entwicklung einer Stimmung, das pointierte Ausstellen körperlichen Berührtseins sind Spezialitäten von Mia Lawrence. ...gelingt es Mia Lawrence, die Leichtigkeit und das Fragmentarische von Kinderspielen auf die Bühne zu bringen, auch deren Grausamkeit zu zeigen (wenn in einem "Diskurs zu dritt" der Mann für eine Frau antwortet, die nur mit Ja und Nein antworten darf). Ihre angeschnittenen Bewegungen, die Verbindungen der Extremitäten, wenn eine Hand den Fuß des gestreckten Beins umfasst, die den Körper längen und zusammenfalten, die Winkel und geometrischen Formen, die sie in sanften, zarten Berührungen und zärtlichen oder beiläufigen Inspektionen des eigenen oder eines anderen Körpers auflöst, generieren eine sehr persönliche und charakteristische Bewegungssprache. Von Katja Schneider, Tanzjournal 2/03