Beamish in @giselle has invented a new language, which makes the work hard to describe but perhaps destined for classic status in its own right… by unfurling the action in a virtual, online world, Beamish and designer Brianna Amore recharge the old tale with new salience. The aesthetic is bound to resonate with Next-Gen balletomanes – the split-screen, multitasking, quick-flick pacing of Act 1; the psychedelically infused “red pill” ambiance of Act 11’s “experiential lounge” setting.

But there’s more to the transposition than mere, gimmicky details of decor. Feigned identity, fatal infatuation and insurmountable caste barriers – the drivers of the original Giselle story – recur even more pointedly in cyberspace.” – Vancouver Observer on @giselle by Joshua Beamish


A profound pairing of past and future, physicality and absence… Suddenly relatable, the work inspires a fresh encounter with its topics of love, pursuit, death and grief. And a strong mix of dancers, hand-picked by Beamish from companies around North America… carry the narrative to new depths, showcasing the choreographer’s movement vocabulary with skill…

…Looking around the bustling lobby at the Vancouver Playhouse, I appreciate anew the excited chatter of audience members of the physical intimacy that dance as an art form upholds. In a society where “screen time” competes ever-increasingly for our attention, what better medium, than dance to address these concerns and to compel us to be together? And how refreshing is it, to feel critically engaged after watching a narrative ballet?” – The Dance Current on @giselle By Joshua Beamish


Vancouver choreographer Joshua Beamish sends dancers waltzing and can-canning throughout.. In one fun, gender-bending touch, there are a few extra-muscular, hirsute Grisettes—and they drop into splits as easily as their female counterparts.” – Janet Smith, The Georgia Straight on Vancouver Opera’s The Merry Widow by Joshua Beamish


“Choreographer Joshua Beamish pulls out the stops for a couple of wholly extraneous but utterly charming kazatsky ensemble pieces, not to mention his ebullient kick-lines where at least a third of the frilly grisettes are actually males in campy drag. He has so much fun with this that, when he runs out of Lehàr can-cans, he borrows one from Offenbach.” – Lincoln Kaye, Vancouver Observer on Vancouver Opera’s The Merry Widow by Joshua Beamish


“Vancouver Opera has outdone itself with its dazzling production of Franz Lehár’s The Merry Widow… the heart of this production is the masterful craftsmanship of director Kelly Robinson, and choreographer Joshua Beamish.

Robinson and Beamish have created an over-the-top theatrical experience where audiences are transported to 19th century Paris in all its glory, complete with grand ballrooms, beautiful evening gowns, dapper suits, can-can dancers, and everything else you would expect. This operetta, sung in German and featuring English dialogue between songs, is tongue-in-cheek. And Robinson and Beamish’s delivery of this piece is perfectly en pointe – deliciously entertaining, comical, and unapologetically borrowing from the musical theatre realm.

One of the best elements of this production is the dancing, thanks to choreographer Joshua Beamish and the talented group of dancers assembled. – Vince Kanasoot, Vincity Vince on Vancouver Opera’s The Merry Widow by Joshua Beamish


Hands down, the direction of Kelly Robinson and choreography of Josh Beamish were the winners of the evening. Comedic direction can be very difficult, and neither wasted a single moment to add a bit of comedy, a great dance or choreo routine, and it was so rousing and spectacular, the audience was clapping along and shouting for more.” – Melissa Ratcliff, Schmopera on Vancouver Opera’s The Merry Widow by Joshua Beamish


“As Saudade came to a close and the audience roared, this quote by Maya Angelou came to mind, “At the end of the day people won’t remember what you said or did, they will remember how you made them feel.” Beamish’s cast spoke with the most brilliant dance vocabulary but the feeling of saudade that swirled inside me as the men glided across the floor is what I’ll never forget.” – Madison Embrey, New York Rag on Saudade by Joshua Beamish


 “It was easy to see why he has had significant worldwide success choreographing for some of the biggest names in ballet .. Concerto was both elegant and overtly sexy, fusing classical ballet vocabulary with angular contemporary isolations, with little shivers of pop video come-ons.” – Robin J Miller, The Dance Current on Concerto by Joshua Beamish


“Fighting Chance” received its Vancouver premiere to a standing ovation. Mr. Beamish’s usual vocabulary of eclectic lines and angular extensions was here subsumed under a Rocky-like persona with its accompanying rocking, bobbing and priming-the-self physical mannerisms.” – Elliot Cheung, The Ubyssey on Fighting Chance by Noam Gagnon


 “Beamish folds himself into an endless series of contorted postures, many of which seem to defy the laws of gravity. MOVETHECOMPANY’s founder has long been one of Vancouver’s most watchable performers, and nothing here will change that status.”        – Alexander Varty, The Georgia Straight on radios by Ame Henderson


Beamish has a bright, original style, with traces of late greats Pina Bausch, as in the first duet of the evening, Pierced, with her mad repetitious drama, and Merce Cunningham, as in the world premiere piece, The Other People In Your Party, with his informal quirk. After ten assiduous years, Josh Beamish/MOVETHECOMPANY, has proved itself to be one of Canada’s most respected arts establishments, following in the footsteps of the greats and carving out a path to a special future, towards the optimistic transcendence of natural and artistic divides.” – Matt Hanson, Broadway World


“Sharpness in articulation, however, never precludes fluidity. Such contrasts coexist harmoniously in his choreography, as does complexity and stillness. Quiet pauses are given as much purpose as the most physically demanding movements. It would be too early on my part to say that Beamish has already achieved a depth and clarity found in the most accomplished of choreographers.” – Pia Lo, The Dance Current


The dance is a kaleidoscope of figures and forms. No corner of the stage is left unused, and no section of it remains the same for very long. The piece segues from women to men to subset combinations, the changing patterns flowing seamlessly from group to group, from trio to duet, from downstage right to upstage left and back. At times, dancers border the sides of the stage while others are the focus of attention. While the tempo may change as the piece deconstructs into several distinctive, though not necessarily thematic, pairings, the movement never stops. If it wasn’t so well staged, it would look dizzying, but it never looks busy.” – Jerry Hochman, Critical Dance on Surface Properties


“Joshua Beamish’s solo Adoration for Martha Graham Dance Company Principal dancer Lloyd Knight was art in motion. Set to Haydn’s Concerto in C Major for Cello and Orchestra the choreography seemed to emanate from the performer, fitting him like a tailor-made Savile Row suit. We never saw the choreography, we only saw the message expressed through the performer’s body. It was also refreshing to see Knight perform without his Graham armor; we got a chance to experience the versatility of this truly gifted artist.” – Walter Rutledge, Out & About NYC on Adoration


“The theme of an enamored couple unwilling to part but knowing that they must is a component of virtually every adult-oriented ballet and countless stand-alone pas de deux, but Beamish’s choreography, and the dancer’s execution of it, make it look fresh and different. While choreographic trademarks are present in Stay, they’re not dominant.” – Jerry Hochman, Critical Dance on Stay


From the onset of Mr. Beamish’s solo you become aware of his unique approach to the body in space. He marries elongated moments, a leg’s prolonged extension, an arm extended as if reaching for infinity, with angular forms. His emotionality is written within the script of his every movement. His does not expose those inner feelings easily though but only allows a brief momentary glimpse into his inner soul.” – NYC Dance Stuff


“I was so startled by the duet between Mr. Beamish and Ms. Whelan that I purposely did not include it in my critique of the evening’s performance. I felt I lacked the proper words to do it full justice. Joshua Beamish is an artist to watch for. He is at the forefront in expanding and redefining what is our concept of ballet. I think his work is post-contemporary, so fresh is his vision. I can only say I look forward to more of his work.” – NYC Dance Stuff on Conditional Sentences  


“A better pairing came in the sensual, meditative Stay, in which Dimitri Kleioris and Stephanie Williams, a stellar Ballet Theatre dancer, drew toward each other like magnets. Here was yet another relationship dance, but one made distinct by Ms. William’s staggering propensity for both innocence and authority.” – Gia Kourlas, The New York Times


Ms. Whelan, now in red, comes closest to finding her poetry in Mr. Beamish’s Conditional Sentences, set to Bach, in which polished footwork weaves between parallel and turnout positions, and the arms, while quirky and gestural, have a courtly air. Ballet is a ghost in this duet, which really seems a tale about two people learning how to dance with each other while still remaining themselves. Much of Restless Creature is about displaying the external; here, subtly and buoyantly, Ms. Whelan is able to draw from the inside out. It comes back to that creature word: She’s a living thing, and with Mr. Beamish it shows.” – Gia Kourlas, The New York Times


Using Bach‘s Partita No. 2 in C minor and baroque actions of hands and head to take the language of 17th-century ballet and blow it up… the pair looked like a long-time couple whose formalities adorned them like bits of broken tea cups.” – San Jose Mercury 


“His choreography oozed elegance, exactness, sophistication and specificity with every turn of the head, flexion of the wrist and popping of the feet into demi-pointe.” – Desaulniers Dance Commentary 


“..that just might be Beamish’s genius— his ability to create theatrics without theatrics.”- Sarah Osterman, Chicago Stage Standard


“.. one of the most gratifying evenings of dance presented on New York’s downtown arts scene this season” – Lisa Jo Sagolla, Backstage Magazine


“Choreographers are often drawn to J. S. Bach but the meeting of movement and music is not always as smart and intriguing as Allemande … a finely honed dance for three men and three women that bristles with movement invention, musical insight and subtle observations about human manners, decorum and the passions that lie beneath them.” – Michael Crabb, Toronto Star


Joshua Beamish is turning heads across the continent and emerging as one of Canada’s most promising choreographers” – Paula Citron, The Globe and Mail


“The work establishes the most distinctive feature of Beamish’s vocabulary: a modern-dance version of popping, quick, staccato, and highly articulated.” – Brian Seibert, The New Yorker


‘Keepcover’ shines with an inner intellectual confidence” – Simone Botha, What’s On Cape Town


Joshua – as the self-described ‘guardian of love’ – danced with hypnotic fluidity: his clarity of movement and caressive port de bras enhance his god-given handsomeness, creating a distinctive self-portrait.” – Philip Gardner, Oberon’s Grove


“Trap Door Party” was a knockout of “Chop Shop 2011″ – Michael Upchurch, The Seattle Times


“You should keep an eye on Joshua Beamish” – Jennifer Stahl, Pointe Magazine


“Beamish is a “creature” and fascinating to watch at any time.” – Wendy Perron, Dance Magazine


(In Whelan) Joshua Beamish found someone who could match his disembodied, staccato moves but also provide a picture of elegance” – Wendy Perron, Dance Magazine


“ Next up was my favorite work of the evening, Joshua Beamish’s “Waltz Epoca …. Beamish and Whelan seemed to prowl the stage with an animal-like intensity. There was even an therworldly quality to the way Beamish’s arms and legs seem to pop and jolt from one movement to the next. Whelan had to work hard to hold her own with Beamish, a truly gifted dancer himself… (Waltz Epoca) revealed what a great modern dancer Whelan truly is.” – Ken Ross, Mass Live


“The theatre was awakened with a wild jolt of hot, red, passionate energy as the final piece of the night, the much anticipated world premiere of The Red Nocturnal, flashed onto the stage. Wildly creative, highly original and filled to the brim with incredible demands made upon the dancers, the standing ovation at the end summed it up best: This will become a much talked about piece,.” – Glenna Turbull, Kelowna Capital News


Mermaid Parade was stunning and yet disturbing. The chiselled perfection of Beamish’s body, coupled with the supple lines of dancer Jacqui Lopez, produced an exquisite pas de deux that told the story of a mermaid pulled from the sea only to stumble and gasp on land. The dance was a depiction of sheer form – bodies in powerful, controlled motion.” – Jan Degrass, Coast Reporter


“With a mind so brimful of ideas and such strong dancers at his disposal, Josh Beamish is a force to be reckoned with, and MOVE: the company is a kinetic experience not to be missed.” – Debbie Schneider, Industry Dance Magazine


Beamish, the choreographer, is an amazing dancer. It is hard to avert your eyes from him when he is on the floor … repetitious vocabulary offers a calming, visceral experience for the viewer … Hardcore might best describe the speedy, aggressive, no-nonsense dance style. The movement quality, the articulation of their isolated hands, feet, shoulders, is almost always a declaration. This clarity is welcome. The whole is tied together with Beamish costume and lighting tricks that equal the movement in oddity, playfulness, and effect. Beamish finds an interesting intersection— camp and serious.” – Lori Ortiz, Explore Dance New York


Witnessing work of this caliber, coming from such young talent, is arresting… The audience will be stunned by the show’s power and exuberance” – Holly Bright of Crimson Coast Dance, Nanaimo Daily News


If you ever want to feel like a lazy sloth who has squandered his life on Slurpees and watching too many episodes of Intervention (maybe that’s just me), give Josh Beamish’s resume a glance.” – Michael Kissinger, The VanCourier


One cannot help but feel awed by the collision of creativity and athleticism, the juxtaposition of modern and classical dance elements, where ballet, jazz, contemporary and even hip-hop components are blended together with precision and control from each of the dancers, whose different movements complement each other with a remarkable synchronicity. Watching it all play out on stage is inspiring. Knowing that it comes from the mind of a 21 year old is mind-blowing.” – Brooke Ward, The Northern View Prince Rupert


Beamish .. delicately decides how, where, and why the dancers exist within the party of hidden entrapments. The audience, sometimes left in the dark, doesn’t see everything, but what we see is executed brilliantly with sharpness and perfection .. Electronic classical music constantly taps the time throughout; a deep tick tock collaborates with Beamish’s vision rather than opposing it. Sudden light changes will ignite rapid floor thrashing; it’s as if we are seeing a board game from above being played out. The dancers are finding their way from start to finish, overturning obstacles with deep lunges, or making decisions by weaving through floor patterns of intricate jerks, yanks, and athletic stubbornness. Flexed feet push away from some unknown force, and heads whip in every direction without hesitation but reveal a tangible angst. Lingering in darkness, the dancer’s ghost like appearances and disappearances creates austere visual effects. Their darkened world is searching for ways to maintain the light, to preserve what is true.”
− Ashley L. Mathus, NYC Dance Happenings


Hot-as-Hades contemporary dance wunderkind” – Fiona Morrow, The Globe and Mail


“.. It was the final collaboration, between Beamish and Orlando, that really took my breath away.” – Peter Dickinson, Performance, Place & Politics


“Festival directors understand the importance of starting with a bang, and that’s what Donna Spencer achieved when she asked MOVE to open this year’s Dancing on the Edge…. MOVE’s raunchy ending was stirring, and Beamish’s personal repertoire of controlled spasms and electrical quivering amazed.” – Alexander Varty, The Georgia Straight


“It was Memento, by Move: The Company’s emerging star Josh Beamish, that most blew everyone away.… it was if a current was travelling through his upper limbs, surging out into his gesticulating fingers. Beamish has broken down movements into tiny milliseconds and resampled them into a blur of surreal gestures.” – Janet Smith, The Georgia Straight


Beamish’s choreography is absolutely singular. His movement is short, jerky, staccato, and rapid with a total use of body and limbs that are always in motion executing jumps, turns and spins. Its most distinguishing feature is the fluidity he manages to give to the whole cloth.” – Paula Citron, The Globe and Mail


Ending the evening with Canadian-born Joshua Beamish’s faun-like Pierced was the perfect choice. This guest performer brought the house down with his abstract solo work. It is evident that he is equally well trained in classical and contemporary dance techniques. His precision, focus and prowess added up to a flawless performance. You could hear a pin drop when he stepped on to the stage as the appreciatively vocal audience slipped into a concentrated silence throughout.” – Fahiem Stellenboom, Baxter Cape Town


“Joshua Beamish is not just another in a long line of experts from ‘the north’. He is not here to force feed ideas and impose templates. His medium is the body, he is a calligrapher. Each letter is new and interesting, revealing and unique, yet all are consistent, clearly a part of the same alphabet.” – Capo Cassidy, Call of the Search Cape Town


“A full evening of complex choreography rooted in classical technique that is nothing short of astonishing.” – Gail Johnson, The Georgia Straight