"…It is striking that many of the creators made smart and inventive use of elements such as light and decor. Working with Kylian and Lightfoot/Leon (masters in the play with stagecraft) clear traces have been left behind. The ideas of the dancers come to the foreground using the wings and different elements of the stage or, for example, when the light represents a cross on the floor. The line game on the floor certainly brings another element to the piece of Lesley Telford, ‘Intersection‘. Dancer Kenta Kojiri stands as a solitary individual on an empty stage and moves searchingly, sometimes in long lines or small and isolated. A large group of people comes in, following the diagonal lines on the ground while they simply walk past. It makes Koriji’s movements only more powerful…"
*translated from Den Haag Centraal/by Ilse Van Haastrecht, 25.01.2008, Switch’08 shows work from brave NDT’ers
"…the ballet ‘Intersection‘ by Lesley Telford shows with beautiful movement how Kenta Kojiri remains in a world where humans live alongside each other without making contact. In his longing for meaning and a need for connection he is led into a crossroad of movement."
*translated from Volkskrant, Switch’08, 20.01.2008
"…A more emotive and at times beautifully poignant work came from the hands of Lesley Telford. Here but gone refers perhaps to the fleeting in our lives. It takes its five dancers on a journey where resoluteness is intermingled with longing and desperation. Central to the piece is an abstract landscape painting (by sister Heather Telford) on a scroll of canvas some 20 metres long which is gradually rolled open, giving one the impression of being on the road and seeing scenery passing by. Right from the start there is a sense of urgency as the dancers are driven on by the somewhat ominous music. The hectic life journey of these individuals and their chance meetings is determined by the long string that cuts diagonally across the stage, sybolising a road but at the same time forming a barrier, holding them back from their advance and from each other. Most affecting is Rei Watanabe’s helpless expression as she has her face constantly turned away and her eyes covered by a man behind her who tries to sheild her from seeing the end of the road- where perhaps an uncertain future awaits her."
*Dance Europe/ by Ali Mahbouba, January 2007, Systems of Development and Developing Choreographers