"I'd settle for more choreographers as hip as Laura Peterson"
DanceviewTimes

"Peterson is an artist of the infrastructure, an observer of the banal underpinnings of our sensational, illusory world.  Deep, and funny."
Danceviewtimes.com

“Perfectly enchanting.”
Philadelphia City Paper

“Hilarious”
New York Sun

“Chic and amusing…It's all delightful, sinister fun.”
Philadelphia Inquirer

“Ingenious composition”
Buenos Aires Herald

“Broadly comic and audience-friendly”
Danceviewtimes.com

“Security is a hoot, but once again the reason it’s such a pleasure to watch is because of the skill and musicality of the dancers.  They don’t just skitter around the stage, they do it at absurdly fast tempos, with sudden stops and starts, all keyed into the dreamy beat of a French pop song. 

Kourlas ended her New York Times piece with a call for a new revolution in American dance, “the more shocking the better.”  I’d settle for a few more choreographers as hip as Laura Peterson….”
-Tom Philips Danceviewtimes.com

“… extraordinary dancing by feisty, fiercely-committed bleached blond Laura Peterson lit up the stage.”
-Backstage Magazine (May 2, 2003)

“Peterson lands in a dive on Knudson’s shoulders and falls sensationally off.”
-Village Voice (April 16-22, 2003)

“Laura Peterson in a ‘Real Little Lady’ stood on her knees in a stylish red coat, a black pillbox hat and matching gloves. Her non-sequitur monologue was a framework for her to run the gamut of emotions, from cordiality to hysteria.”
-Attitude- The Dancers’ Magazine (Spring 2001)

“The dance is filled to the bursting with emotion. ‘LoveSong’, choreographed and performed by Laura Peterson, presents with wild sarcasm a hysteria of evilness.”
-Dresdener Neueste Nachrichten (June 28, 1994)

“Peterson’s ‘Chaise Lung’ a wordless meeting of two geeks on a couch, struck the perfect balance between campy high artifice and the grotesque.”
-Philadelphia Inquirer (October 8, 1994)

“The images ready to be mined from the common geometries of the human body seem to be limitless. Laura Peterson comes up with some good one in her ‘Escapement Data’, one of the five dances that Group Motion Dance Company is presenting this weekend. The dance begins with two women lying on their back with legs spread far apart. Draped across each of their stomachs is another woman, whose buttocks are raised so as to suggest a great mound of baby about to be born.
“This picture is so graphic and to the point that it doesn’t need further amplification, and Peterson wisely lets it go. But in the last section of the piece, a long solo danced by her, she slyly returns to the idea of birth when, resting against the floor on her shoulders and neck, her hand slowly slips away from view into the hidden cavern between her legs, like a birth in reverse.”
-Philadelphia Inquirer (December 11, 1993)

“There was ‘Crutches’, an ingenious composition by Laura Peterson.”
-Buenos Aires Herald (June 10, 1992)