Press

 

"Her presence isn’t just physical: as she stretches and wilts, she’s the most peaceful, elusive being on the stage. There’s such  power in her ability to surrender. Unlike the others Ms. Eda doesn’t show the movement. It’s a part of her"

 - New York Times 2013 -

 

Press

"Beautiful ballerinas are often caught in their own beauty. They definitely don’t know how to mug. But Megumi can morph in a flash from small boy to impossibly regal diva to a small squirrel chewing on a nut.” – Laurie Anderson 

Best Performer 2015 / .. With her crystalline quality she embodies the sacredness of the music by Arvo Pärt, Philip Glass and others.  - Dance Magazine 2015 -

"Her presence isn’t just physical: as she stretches and wilts, she’s the most peaceful, elusive being on the stage. There’s such  power in her ability to surrender. Unlike the others Ms. Eda doesn’t show the movement. It’s a part of her"

 New York Times 2013

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…Her dancing conveyed clues to an internal life; she elevated the dance. In a duet …her eyes were cast down, or closed, and she moved as if in a dream. …Eda, on pointe, held one leg in a high side attitude, and swayed lightly, like a branch in the wind. The moment was brief, but its mournfulness resonated. Eda had a longer solo later, in which she again added depth to the pyrotechnical ballet otherwise on display, offsetting a fitful musical passage of horns and percussion with dancing that was powerful but nuanced. She looked out at us, even smiled, but the overture was fleeting and mysterious. At the end, she collapsed against the back wall.

 – The New Yorker 2013 -

 

 

A fantastically sinuous dancer, Eda was completely herself in these pairings, not trying to be African. Yes, the over-the-top extensions were rampant, as in any Armitage piece, but Eda did other lovely things with her body like floating, scissoring, and wilting. Zoko Zoko was grounded and undulating and seemed to be healing her of something. The third duet was as oddly beautiful as Armitage’s best work. - Dance Magazine 2009 -

 

 

 

 

Megumi Eda slips through ''Time'' like a distant, hauntingly sad melodic phrase, her body bent often into an angled, calligraphic shape. Around her couples of the moment swirl, the women gently surging up and out in fascinating partnering moves. The towering, spider-limbed William Isaac appears and disappears, hovering fleetingly like a solicitous puppeteer who just might be a figure of death

- New York Times 2004 -

 

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Megumi Eda, in a gold leotard (costumes by Peter Speliopoulous), with her back to us and her rear end jutting out. Typical Armitage, you think: sex, glamour, in-your-face. But soon Eda’s rear isn’t just in your face. It’s in your mind. Her legs are bare: we feel the body’s innocence, nakedness. Yet the leotard is taut, metallic, gleaming. So these buttocks become a poignant image—two golden globes, moving in the darkness, telling us that flesh is armored, but still vulnerable. Again and again in the piece, Eda reappears in this position—the theme of the show, I think.  

March 14, 2004

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"Vision Fugitives'' was a welcome relief, allowing Megumi Eda to express coquettishness and comedy. Her facial expressions make the audience laugh in all the right places. - Bristol Post, UK 2003 -

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Simon Cooper and Megumi Eda go a long way to give it extra imaginative substance, the doomed dialogue between her brittle-boned angularity and his muscular fluidity creating its own subtle anguish.

The Guardian 2003