Paufve Dance interviewed on NPR's All Things Considered - read/listen here

“Randee Paufve is a name to take seriously in Bay Area dance circles”
– Allan Ullrich, Voice of Dance, July 2007

“The effect was rather like heat mirages on a summer road: an incorporeal shimmer
caused by something palpably real. ”
– Jennifer Dunning, New York Times, July 2006

“…Paufve…. danced at the edge of the abyssa, as always.”
– Ann Murphy, In Dance, July 2006

“Paufve's densely packed phrases unravel and mutate with a logic...derived from
mysterious algorithms. At the same time, her dances are wholly transparent, like
refractured glass…. you almost see the thought processes that went into its making.”
– Rita Felciano, San Francisco Bay Guardian, April 2006

“[Paufve] also has a profound respect for form, even as she seems to be smashing it”
– Ann Murphy, Dance View Times, May 2004

“[Paufve] thrillingly plunges her dancers through space on the verge of uncontrollability… embodies a combination of sensual elegance and fever, stark form and wildness.”
– Ann Murphy, Dance View Times, May 2004

“You think early David Gordon or the Israeli choreographer, Ohad Naharin. But then
Paufve takes off… it’s all vastly stimulating and unpredictable. ...This is real dancing.”
– Allan Ullrich, Voice of Dance, September 2002

“This world premiere was a fast-paced, lickety-split dissection of the seven deadly sins.”
– Rita Felciano, SF Bay Guardian, September 2002

“Every once in a while, a local choreographer comes along who shatters the complacent
run of thinigs. Randee Paufve….is such a choreographer.”
– Ann Murphy, SF Weekly, September 2002

“…exceedingly beautiful.”
– Marilyn Mantay, The Davis Enterprise, October 2002

“…Paufve, skilled, brainy, and at times quirky…”
– Rita Felciano, The San Francisco Bay Guardian, September 2002

“…Enter (The Room) becomes a witty theatrical deconstruction of women’s roles –
Marilyn Monroe meets the Gorilla Girls.”
– Ann Murphy, SF Weekly, September 2002

“... [BloodTongueSeverTatterRend] kept shifting brilliantly and seamlessly from unison
dancing to highly individualized moves with a maximum of communicated feeling.”
– William Glackin, The Sacramento Bee, Oct 2002

“…Paufve…struck this observer as a volatile, strongly centered performer, capable of considerable rigor…this dancer knows how to create an aura in moving across the stage.”
– Allan Ullrich, San Francisco Examiner, July 2000

“…the performances in Rend left me weak in the knees, the brevity...kept me
wanting more.”
– Willamette Week, September 2000

“big broad strokes…bravura modern dance leaps and rolls, the barest hint of tumbling, suspensions to make a viewer sigh.”
– Cerinda Survant, The Oregonian, April 1999

“…molten sculptures whose forms materialize then dissolve with every new phrase,
leaving behind a memory of great organic beauty”
– Ann Murphy, Dance Magazine, November 1997.