UNDERLAND 　 Photo:Jeff Busby

reviews on dance Wakako’s precise and witty performance delighted. Bronwen Gora, The Sunday Telegraph 1992 Wakako Asano creates an oriental ambience with its graceful slow movement. Carol Payne, The North Shore Times 1996 Each gesture and each step was so precise and yet also so fluid, she seemed to `move stillness’. Julia Postle, The Real Time 1996 Wakako Asano has a mesmerizing smoothness… Jennifer Shennan, The Evening Post NZ 2000 Electric partnership…Wakako Asano, Grarme Murphy and Janet Vernon dazzle in Sequenza VII. Jill Sykes, The Sydney Morning Herald 2000 Wakako Asano stands out for her commitment to each piece, her clean technique and her acting ability. Valerie Lawson, The Australian Financial Review 2000 Again-as always-Wakako Asano is outstanding for her grace and quality of understanding. Deborah Jones, The Australian 2004 Wakako Asano, now such a mature artist, glides from movement to movement with mysterious grace. Michelle Potter, The Canberra Times 2005 reviews on choreography & dance Wakako Asano traced the heartbeat intimacy of sharing with acute sensitivity in Unwitting Sight, dancing the piece with Katherine Griffiths. Jill Sykes, The Sydney Morning Herald 1998 Cradle Song, drawing on the bond between mother and child, shine with her unassuming intelligence and gentle spirit. It is exquisitely danced by Andrea Briody, who almost seems to be channeling Asano, and Bradley Chatfield. Deborah Jones, The Australian 2001 Cradle Song, her short, memorable piece for Freefall, they put a stamp on everything from her choice of music and subject to its realization…ultimately very touching in its simplicity. Jill Sykes, The Sydney Morning Herald 2001 Cradle Song, by Wakako Asano, was a highlight. On the surface apparently simple, this piece defied many conventions. For instance, although this was a duo there was no partnering work-dancers, Bradley Chatfield and Andrea Briody, never touched. Instead they performed independently of each other, each dancing a delicate choreography of small movements and unusual, expressive arms and hands, following a deceptively natural path around the stage. Occasionally their movements merged together. While the nature of this pair’s relationship was not clear, the strength of the bond between them was. This was a very original piece, particularly as it contained not a hint of Graeme Murphy’s influence, which one would expect from dancers for so long in his company. Karen Van Ulzen, Dance Australia 2001 Most cohesive was Asano’s Know End…A mix of Zen, earthy and tribal, this is a classic, surely structured work that asks viewers to slow down and enjoy the calm within. Julie Huffer, The Sydney Morning Herald 2003