Feature: Wool, Sneakers and Community: Ballet Class Persists Outdoors
Siobhan Burke for The New York Times
February 2, 2021
“Being with other dancers is the most rewarding thing about being a dancer,” said Anna Rogovoy, 29, who began attending Pyle’s outdoor class in January. She had tried taking classes online in her studio apartment but found that the lack of space — combined with a fear of disturbing her downstairs neighbors — was eroding her love of ballet, a form that, for her, has nothing to do with staying quiet or small. “I don’t love ballet to do little nitpicky exercises,” she said. “I do all of those things so that I can explode in space and lose control and be surprising and find new boundaries in my dancing.” Until taking Pro Sneaker Ballez, which culminates in grand allegro (the leaping part of class) across a basketball court, she hadn’t jumped in five months. When she finally did, she rejoiced. “Even just doing 16 changements” — small jumps in place — “I could have cried,” she said.

Review: Shared Evening
Cecly Placenti for The Dance Enthusiast
January 6, 2020
“The four dancers in Rogovoy’s Major Crater, also a premiere, perform with a similar internal rhythm. This results more from the piece’s timing rather than the minimalistic soundscape. Pareena Lim, Michael Parmelee, [Rebecca] Hadley, and Rogovoy relate to each other but rarely perform in unison. Instead, similar movements happen at the same time to produce a kaleidoscopic effect.

With choreography for movement purists, Major Crater unfolds as moving architecture, sculptural and strong, the dancers’ facial expressions remaining gentle and un-emotive. Rogovoy’s work hearkens to a classical modern dance aesthetic with little flow or rebound. It emphasizes execution over emotion, thus presenting a blank canvas for the audience to interpret.

From a technical standpoint, the choreography spotlights the skill it takes to maintain one’s center while performing complex upper body shapes with contrasting foot patterns. Rogovoy’s solo, full of energetic jumps and crisp turns, is highlighted by an impeccably balanced attitude pitch that resolves in a seamless pirouette. Hadley contrasts with a slow adagio full of off-balance rotations. Everything — the dancers, the piece, and the shared bill — is in balance.”

Review: to go is to be going, but not to get there / Mina Nishimura Double Plus
Maura Donohue for Culturebot
December 19, 2018
”Mina’s Sinking While Floating, Singing While Thinking plays out as if she had exploded herself into four component parts. Samuel Hanson, Emily Climer, Tyler Rai & Anna Rogovoy tune into discrete disruptions of posture and dissolve again in gentle encounters, evoking their choreographer’s inimitable style without apparent mimicry…the dancers pass through idle animation states and multiplicities of growth and decay…Anna Rogovoy’s vocalizations hint at sweet springs…the dreamscape’s agility is about an endless becoming.”

Feature: Yes, It Is Possible to Work Full-Time and Be A Professional Dancer
Garnet Henderson for Dance Magazine
October 10, 2018