Press Reviews

What the Press is saying about Dominic Walsh

“…Dominic Walsh’s new version of Romeo and Juliet reads more like an opera than a ballet. It’s not just because the parts of Lord Capulet and the Nurse are sung, or because of an impressive onstage chorus. It’s the merging of dance, spoken text, song, and a substantial set, in such a complete package that it doesn’t seem to matter who is dancing, speaking, or singing. The audience sees the piece as whole. Even when the dancers burst into Shakespeare’s blissful syllables, it seems right and natural. The acclaimed Mercury Baroque, playing an arranged Vivaldi score live, ramps up the opera feel even more. ”

Romeo & Juliet, Reviewed by Nancy Wozny, Dance Magazine July 2006

“At last, Houston has a contemporary dance company on par with its symphony, opera and ballet companies.”

-Marene Gustin – Dance Magazine

“Balletomanes have been eyeing Dominic Walsh for years at Houston Ballet. He shines in the classical works as well as contemporary pieces by the likes of Christopher Bruce. But this past season was a real breakthrough: Walsh simultaneously solidified his role as one of the ballet’s leading males (snagging the lead in the new Paul Taylor piece) and launched his own company, Dominic Walsh Dance Theater, to critical acclaim. His choreographic works, “Flames of Eros” and “Katharisis” show promise, but he is still more of a dynamo when dancing. Here’s hoping he doesn’t move out of that realm anytime soon”…

Best Dancer – Houston Press, September 25, 2003

“Walsh’s talented voice came through loud and clear in his debut event… Walsh is a dancer of rare versatility, seamlessly handling the transition between traditional ballet to the more grounded qualities of modern dance.”

– Nancy Galeota-Wozny – ArtsHouston Magazine


Molly Glentzer – Houston chronicle

“Look for him to continue as a principle dancer with Houston Ballet… while steering his fledging contemporary company towards stardom.”

– Houston Intown Magazine

“Dominic Walsh Dance Theater has choreographic mettle, connections with a fine leader in Houston Ballet’s most passionate veteran principal dancer.”

– Houston Chronicle

“It [DWDT’s performance] drew the evening’s first huge ovation replete with lusty bravos.”

– Tony Guzman, Miami Sun Post

“Dominic Walsh Dance Theater showed us once again that Houston can have a contemporary company that’s as good as anything in New York.”

– Marene Gustin, Houston Press

“Walsh is now in his second season as director of his own company and he is definitely one to watch. He is still in that enviable position: on the cusp of being a major force in choreography while still young enough to perform in his own works.”

– Marene Gustin, Dance International Magazine

What the press is saying about Dominic Walsh:

“The role of Des Grieux, Manon’s eternal lover, was danced by Dominic Walsh (Houston Ballet) in place of Laurent Hilaire. Walsh showed a firm existence with his steady and extraordinary technique expressing hart warming emotions. Especially, his support was magnificent and unparalleled.With deep affection,he quickly led manon top her miraculous pose.Dominic Walsh : No doubt,an appearance of the fresh new star to the Japanese ballet fans”…

Manon , Sir Kenneth MacMillan – Ryoko Sasaki, Asahi Newspaper, November 12, 2003

…”Mr. Walsh spins in again to stamp his foot and wag his finger in “thou shalt not”. His dancing is full of fine bravura as he springs into tricky combinations and a variety of turns from a squat. “..

-Paul Taylor’s In the Beginning; Anna Kisselgoff, NY Times, April 11, 2003

-Dance Magazine February 2003

” Displaying rare control ,Walsh ,as a young show- off known as the Boy in Blue ,is the star here ; he balances the technical requirements of his alletic moves with an undeniable theatricality and pure cutup humor”…

Le Patineurs {Frederick Ashton } ; Cinthya Greenwood: March 2, 2000

…”What a potion for emotion Dawn Scannell and Dominic Walsh brewed as Shakespeare’s ill-fated young lovers. Who needed words, when dancing summoned the unspeakable, carried on the searing violins and ominous cellos of Sergiev Prokofiev’s turbulent score?”…

…”Walsh was a tender, soulful Romeo propelled by a pure heart, his dancing was as clean as his spirit, with perfect landings on to one knee from exuberant spins. After his friend Mercutio’s murder, he raged with anger through the sward fight with Tybalt.

..” I can’t recall a more moving pas de deux all season than their final scene in the crypt, as the grief wracked Romeo desperately tried to bring the drugged Juliet back to life”…

Romeo and Juliet; Molly Glentzer (Houston Chronicle). June 6, 2000

…”The comic Harlequinade showcases Walsh’s sense of timing and pratfalls while still letting him whip out fabulous fouettes. It may be that Walsh has hit his prime or perhaps his newly launched troupe, Dominic Walsh Dance Theater, is inspiring him. Either way, Walsh is the guy to watch this season and next”…

Harlequinade, Ben Stevenson; Marene Gustin (Houston Press), March 6, 2003

…” Displaying rare control ,Walsh ,as a young show- off known as the Boy in Blue ,is the star here ; he balances the technical requirements of his balletic moves with an undeniable theatricality and pure cutup humor”…

Le Patineurs (Frederick Ashton), Cynthia Greenwood (Houston Press)

March 2,2000

…”Dominic was a charming Siegfried, alternately displaying pathos, lest love, a little roguishness and the impetuousness of a man-child. Walsh also was a exeplinary dancer with seemingly boundless energy”…

(The Arizona Daily Star). May 8, 1998

…”Prince Florimund didn’t appear until well into the ballet ,but Dominic Walsh, who has developed into a fine danseur ,made the most of his brief solos. His energetic tour-jetes and barrel turns, crisp cabrioles and clean pirouettes almost made the steps look easy”…

Sleeping Beauty ; Molly Glentzer (Houston Chronicle) March,1999

…”Dominic Walsh’s Fredrick had an edge of classical elegance, but his was a much more believable peasant who fought more believeablely to save Svetlana”…

Dracula, Ben Stevenson, Jennifer Dunning (NY Times), March 17, 1997

…”Both of the Fredrick’s, the extraordinary classical virtuoso Carlos Acosta and the exuberant and here more suitable Dominic Walsh were both outstanding”…

Clive Barnes (New York Post). March 18th, 1997

…”Dominic Walsh showed us a fresh, youthful Fredrick with his clean, buoyant technique”…

Margaret Willis (Dancing Times) July 1997

…”Dominic Walsh was impressively virtuosic Saturday afternoon” …

Snow Maiden {Ben Stevenson} ; Anna Kisselgoff {New York times }March 24, 1998

…” Dominic Walsh as Misgir was more polished showing less of the local lad. But more of a James bemused by this other- worldly being period .He performed the steps with polished accuracy and neatness and was most convincing in his acting”…

Margaret Willis Dancing Times June 1998

…”The famed Bolshoi ballerina slipped effervescently into the role Stevenson created for her. And the rest of the cast, including Dominic Walsh as Misgir and Dawn Scannell as Coupava, was right there with her. Walsh’s Misgir was worth dying for. He sailed with energetic lyricism through his bravura variations. During the ballet’s happy moments, he radiated warmth, tender passion and youthful joy. He was believably torn between the Maiden and Coupava, and his anguish at the end was deep without being overdone”…

Molly Glentzer. Houston Chronicle, September 2000

…”Walsh was magnetic in his solo ,which combined fiery footwork, spins ,jumps and beautiful balances“…

Indigo {Stanton Welch} ; Molly Glentzer ,March 6,1999

…”Dominic Walsh, impressive in his bravura”…

Cleopatra (Ben Stevenson), Anna Kisselgoff (NY Times) March 14,2000

…”Among the Marc Antonys Dominic Walsh, with Anderson was the best”…

Clive Barnes {New York Post } March 14,2000

…”With Marc Antony (the virtuosic Dominic Walsh) her psychological carapace slips to reveal a passionate woman bewildered by the strength of her feelings”…

Anne Sacks {Evening Standard}London April 5th, 2001

…”In Dominic Walsh, who plays Marc Antony, Houston ballet has a bold dancer, both in romantic presence and technical skill”…

Jane Vranish {Post-Gazette} March 11, 2000