with Clifton Brown in Legend of Ten, Lar Lubovitch Dance Company.
“…I could not take my eyes off them, most notably Mark Morris veteran Elisa Clark, a short-haired androgynous beauty with an Annie Lennox- aura, accentuated by Mizrahi’s fitted men’s suits, and possessing a perfect, elegant “line” that made me swoon.”
— Daniel Isengart
“Brief solos for the individual dancers look obligatory–the fifteen seconds in the sun that is undeniably each one’s due–though a few of them, like the one for Elisa Clark, a plain-faced woman who’s the epitome of grace, are particularly beautiful and/or surprising.”
— Tobi Tobias, Arts Journal
“The dance for Carolyn’s Dance Magazine Award was wonderful, Elisa Clark had me in tears – for the simplicity and direct, power of her dancing, for Robert Battle’s choreography, and for the celebration of Carolyn Adams, connecting so many strands past and present.”
“…A central pair - Elisa Clark and Clifton Brown - weave their ongoing pas de deux into the ensemble; tall and radiant, the couple bring an unusual sense of dignity to what might otherwise simply be a romantic duet. Clifton's imperial wingspan and the hypnotic styling of his arms and hands are a blessing to behold, and Elisa matches him in expressive nuance.”
— Oberon’s Grove
“Elisa Clark tempers her projection just right, and the clarity and musicality she honed at Morris serve her handsomely in Lubovitch’s work.”
“Elisa Clark is a dancer, a teacher, a life-coach and a true inspiration to all who grace her presence. In the three day time that Elisa Clark worked with The Dallas Youth Repertory Project, she not only changed the lives of our young dancers, she also changed perspectives of the adults who observed the process of a professional teaching residency. Elisa made a very strong impression on every member of our youth company. Choreography was just one element of the whole experience. Elisa has a special gift of guidance: teaching young dancers about physical well-being, emotional well-being and how to keep a positive attitude. Elisa Clark’s residency left us all feeling at peace and truly satisfied and excited about the future of DYRP.”
“Amid its undulating sea, Elisa Clark and Clifton Brown sailed in with a mysterious duet that was all silvery light. Clark, who recently left the Mark Morris Dance Group, is a special prize; you cannot take your eyes from her, even as she melts into the ensemble and though the force of her attack is so light it is scarcely perceptible. Through some internal, finely controlled balance point, she can shade her steps with the illusion of weight and gravity one moment, then spin away in utter weightlessness the next. By her focus alone — the way she turned her head, a split-second look — the drama quickened. Clark’s precision and elasticity were mirrored by the full cast…”
“‘Bedtime,’ first performed in 1992, uses three Schubert songs, sung by the splendid Margaret Bragle and a quartet of men. The first, Wiegenland, op. 98, no. 2, is supported beautifully by the dancing as three angels appear to guard sleeping men, whilst the extraordinarily talented Elisa Clark dances invigoratingly amidst them.”
“Thursday night, Elisa Clark, in gold, hovered over each in turn, blessing the sleeper with a lullaby, her leg swinging fore and aft, her back arcing deeply. Clark is beautiful, and her extensions go on forever.”
“Elisa Clark becomes instantly focused as the music begins. Her body starts across the floor, executing graceful stern movements. Her face mimics the melancholy of the music. Even her fingertips are performing.”
“Look at Elisa Clark, new to the company last year but an experienced—and exciting—dancer: Morris is already showcasing her.”
— Robert Gottlieb, the Observer
“In the duet, Elisa Clark demonstrates the same beautiful, porcelain quality and expressiveness she displayed in the solo, Battle’s ‘Jewel Lost,’ performed during the ADF faculty concert.”
“The highpoint of ‘Telemetry’ was a solo, a sustained sequence of lightening bolts and thunder claps or, literally, or slides, thrusts, strides and other combative actions that Elisa Clark delivered with vehemence yet elegance. Ms Clark dominated the choreography, not just dancing but also while watching the others. Following her exceptional solo, she ruled from the front right corner of the stage, looking like Marlene Dietrich on a 1930s Hollywood set, seated in a director’s chair with her back upright and her crown of blonde bobs held high.”
“The ethereal Elisa Clark, with a length of arms and legs that stretch from morning to midnight, acts as the protective guardian angel in the first part, setting protectors at the side of each sleeper.”