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Oguike has the most eclectic and inquisitive musicality

of any choreographer I can think of in the UK

Arts Desk

Henri Oguike is in no danger of losing his status as one of our most musically astute choreographers.
The Times, 2006

If ever there was a worthy tribute to the fun, relish and utter joy of uninhibited dancing, this is it.
The Stage, 2004

What is so exhilarating about the choreographies of Henri Oguike is the rhythmic pulse which races through every phrase. Over the past few years Oguike has shown rare imagination in matching movement to score - and his scores are streets ahead of the clatterings and sludgy sonorities that are the choice of too many dance creators today. A fine evening: fine dancers and fine dance in fine lighting. And fine music, too.
Financial Times, 2004

I can't think of a choreographer since Mark Morris who has shown such completeness of musical instincts, physical inventiveness, intellectual scale, emotional daring and capacity to entertain.
The Daily Telegraph, 2004

Henri Oguike has rightly been dubbed one of the most musical choreographers of his generation - but he has a very particular approach to his chosen scores. What we see is not so much a visualisation of melody and pulse, but music as three-dimensional space, peopled by very specific types of men and women.
The Guardian, 2004

Henri Oguike is a young choreographer, and he might be our next important one. His abstract dances are confident and clever, some sweet and funny, others immensely serious. All semaphore intelligence, with finely judged music and decor, and a movement style entirely his own.
Evening Standard, 2004

This is a musically voracious choreographer on confident form, and could give Brit dance a scintillating boost of intelligence.
Dancing Times, 2004

Henri Oguike's Front Line is unquestionably one of the finest danceworks to be created in this country during the past decade. Set to and driven by Shostakovich's String Quartet No 9, this sextet from 2002 is both formally beautiful in its choreography and ferocious in its presentation.
Dance Now, 2004

Henri Oguike has done a great deal since he graduated in the mid-1990s. The variety of his output is remarkable - from the tragic romantic narrative Dido & Aeneas (to Purcell) and the swirling patterns of Front Line (to Shostakovich), to the exploration of movement and light in FPS Part 1 (to the Kronos Quartet) and the fast-paced Finale (to Rene Aubry). It's too early to judge Oguike's place in dance history, but he is certainly a choreographer in constant motion.
The Guardian, 2004

Oguike's contemporary choreography combines powerful dancing, technical excellence and live music to provide highly theatrical pieces.
The Argus, 2004

Henri Oguike, one of Britain's classiest young choreographers, has an innate ability to strike the right balance between art and entertainment. Small of scale but big in ambition, his company works miracles of quality despite often meagre resources.
The Times, 2004

Oguike is an original and exciting voice, and his choreography bursts from the dancers with angry virtuosity.
Sunday Telegraph 2003

Music and movement magically married.
Daily Telegraph, 2003

... the quality remains consistently and dazzlingly high.
Dance Magazine, 2003

Oguike can deliver the goods.
The Observer, 2003

Oguike knows what riches the music repertory can hold. And he has already fashioned some very cunning, very powerful keys to unlock them.
The Guardian, 2003

Here is dance that is stuffed with fresh ideas, bristling with personality.
The Independent, 2003

Oguike is nobody's product: his style is all his own.
The Independent, 2003

Oguike digs into the fabric of a composition, using it for an exploration of rhythm that his six thrillingly willing dancers claim as their own.
The Times, 2003

Oguike is the innovator modern dance needs.
Evening Standard, 2002

For Oguike the dance is the music shaped by its moods and motives. It's exciting to see a young choreographer turned on by his music, and just as exciting to see a company of talented young dancers share that passion.
The Times, 2002

Oguike's bold dance has a bruised brutality that lodges beneath the viewer's skin. Afterwards you know you've experienced something genuine.
Dance Now, 2002