May 2017

Taking the Fall

The Ohio premiere of Meggitt and Karpanty’s dance on film short, alter idem (second self) was another bite size morsel of goodness. 
After solo excerpts of Karpanty performed of her new work “Precipice,” the program concluded with its two finest offerings beginning with TDG’s “the tongue of the wise,” choreographed by Karpanty.  During the cleverly-crafted work Richie, moving as an actor among the dancers, spoke of the differences between the fool and the wise man’s reactions to uncomfortable situations as the two dancers gave visual imagery to what Richie was saying, often aggressively tussling with one another. 

- Steve Socato for and

June 2013

The woman in Kimberly Karpanty’s “private dominion” also plays out her passions on and around a chair, on which she is first seen perched upside down. Karpanty depicts the figure as a bundle of jitters who’s challenged to tame the demons in her life. Hurling herself through space or rolling on the floor to music by Swod, she comes to a cathartic moment punctuated by ironic laughter.

- Donald Rosenberg for The Plain Dealer

May 2012

Kimberly Karpanty, artistic director of Travesty, draws on family history for "I Fight," which unfolds in six highly emotional sections, with family photos setting each scene. The journey begins in Italy, where the father and mother (Eric van Baars and Tanya Mucci) court, marry and make plans for a better life in the United States. 

What follows in this heartfelt and forceful dance-theater piece is a series of anguished outpourings, conflicts and a finale of acceptance. Karpanty portrays the perseverance of the family members in spurts of weighted movement and heated interactions, with shoes providing a metaphor for the value and resolve of their voyage. The dancers perform with intense focus to music by Corigliano, Verdi, Berio and others. At the end, in a touching gesture, each performer's ethnic background is projected on the screen.

~Donald Rosenberg for The Cleveland Plain Dealer

December 2011

The final piece of work was the perfect response to Sallak’s spooky & minimalist endeavors, as Kim Karpanty’s “up straight in the sunshine” shed light and hope across the once darkened stage. Beginning peacefully, the marvelous and mature dance troupe, Kent Dance Ensemble, awoke one by one and battled with, while also basking in the bright sun illuminated by lighting designer David Ruggles. The piece was simple yet wholly profound, as the dancers struggled to face the light and pulled each other away from it. In the final, serene moment, all the dancers gathered at the edge of the stage to finally confront whatever the sun symbolizes, much as the audiences were then left with confronting what these dances meant to them.

- video body culture

April 2010

Travesty Dance Group @ Weathervane, Akron 4/10-11 

It is always a pleasure to witness the creative, quirky, and thought-provoking works of Travesty Dance Group and the performances presented on April 10 and 11, 2009 at the Weathervane Community Playhouse in Akron, Ohio certainly did not disappoint. Artistic Directors Kimberly Karpanty (Cleveland) and Karen Stokes (Houston) with guest choreographer, Joan Meggitt (Antaeus Dance, Cleveland), brought the audience a spectrum evening from downright wacky humor to thoughtful and dark explorations. The Artistic Directors, although working from two separate cities, have a knack for bringing together dances that share a cohesive approach in theme, use of vocabulary and text, and outstanding execution, all the while offering the audience a very rich and diverse experience.

Go on, then gave Karpanty open rein to deliver her particular brand of comedy through a delightful trio of Cleveland dancers and an original text score by Claudia Howard Queen. These three unique characters explored the world of words and their myriad of meanings, literal to abstract, with physical clarity,  charming wit and pristine timing for their refined execution of Karpanty’s inventive movement.

Dawning, a premier work by Karpanty, offered a powerful palette of contrasting images of struggle and release. The five dancers appeared as apparitions caught in the disparate worlds of group interdependence distinguished from entrapment and individual aloneness versus liberation.  The final image of a collapsed figure at the feet of the group was one of the most memorable of the evening.

- Barbara Allegra Verlezza for

April 2007

“Karpanty’s ensemble work, “Stairway,” is set against fantastical nature themed projections by John Cochran … “Call Waiting” by Malcoln-Naib draws on the angst of waiting for the right caller to call for the call that never comes.”
- Ian Snow, Cleveland Free Times

October 2005

“Three was our favorite for its coherence, humor and exuberant dancing … Travesty had demonstrated their ability to handle content.”
- Lucas and Johnson,

October 2005

“Three talented choreographers were fellow faculty members at Kent State University nine years ago when they formed Travesty Dance Group. Now, Kim Karpanty, Rebecca Malcolm-Naib, and Karen Stokes live and teach in three different cities. Their concert last weekend at Cleveland Public Theater affirmed the validity of their geographically challenged ensemble.”
- Wilma Salisbury, Cleveland Plain Dealer

September 2005

“The inspirational image of a figure emerging from despair as a faltering voice spoke of gratitude and hope was created and danced by Karpanty, faculty member at Kent State University and a choreographer with something significant to say.”
- Wilma Salisbury, Cleveland Plain Dealer

June 2005

“Kimberly Karpanty opens her solo, Private Dominion, suspended in mid-air, mid-fall, traveling floorward … Elegant moments of suspension and support alternative with sweeping moves across the floor. A delicious sequence where Karpanty’s hand crawls out from its hidden sleeve left me curious about this handless maiden (in) Karpanty’s handsome performance.”
- Nancy Goleota-Wozny, Dance Source Houston

August 2002

TDG performed the excerpted version of THREE at the Toronto Fringe Festival for Independent Dance Artists where they were called “imaginative,” “clever” and “amusing” by the Toronto Star and The Globe and Mail.

July 2000

“THREE, a witty evening length dance piece that investigates the multitudinous meanings and manifestations of the number “three,” shifts from irreverent comedy to honest emotion. THREE’s fresh and wacky choreography feels remarkably unified, as if sprung from a single source.”
- Lisa Jo Sagolla, Backstage, New York (Regarding TDG founders’ co-created evening length work THREE)