with Clifton Brown in Legend of Ten, Lar Lubovitch Dance Company.

with Clifton Brown in Legend of Ten, Lar Lubovitch Dance Company.

 

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.
— Christine Dakin

Elisa Clark tempers her projection just right, and the clarity and musicality she honed at Morris serve her handsomely in Lubovitch’s work.
— Susan Yung, Thirteen SundayArts

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.
— Lisa Hennings, co-founder Dallas Youth Repertory Project

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…
— Sarah Kaufman, Washington Post

‘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.
— Sam Smith, Music Omh

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.
— Thea Singer, Boston Globe

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.
— Erin Ragan, The Steamboat Pilot

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.
— Susan Broili, The Herald-Sun

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.
— George Jackson

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.
— Iris Fanger, The Patriot Ledger