Vanishing Before Our Eyes
Gathering Moss
by Deborah Jowitt
The Village Voice

Beth Soll's work is spare and circumspect in another way. And her LAKE: Imaginary Dreams of Russia, shown at WAX, shares with her earlier pieces a quiet intensity. The title explains her rationale and the work’s delicate, fragmentary nature: These are not just dreams, but imaginary dreams. more

Footnotes: Veteran Choreographer Remains Most Striking as a Dancer
by TOBI TOBIAS for the Village Voice

The dance [Running/Mourning] remains steadfastly enigmatic without ever making itself compelling. Soll herself, though, is unforgettable—as alert, quick, clear, and delicate as a lark.

April 4, 2005

Austerity Meets Agitation While the Night City Glitters
by CLAUDIA LA ROCCO for the New York Times
published: April 10, 2007

This sense of chilled distance lasted throughout the program’s other piece, “Black Flower,” a new ensemble dance for Erin Ghislin, Lindsey Hedrick, Pearl Marasigan, Mariah Steele and, briefly, Ms. Soll. As the four women cut leaping diagonals across the stage, the work of another modern-dance priestess came to mind: Martha Graham’s 1936 antiwar epic, “Chronicle,” whose scything lines of fierce women never fail to elicit shivers.

Tellers and a show - Josh Hilberman, Jody Weber, and Beth Soll
....
Long-time Boston dancer Beth Soll, now based in New York, returned for a Sunday-afternoon concert at the Dance Complex. In a talk that was partly about being away and coming back, Soll introduced her solo, Red Révérence, and Black Flower, for four young New York dancers.