Choreographer Junichi Fukuda’s use of the three dancers onstage was the highlight of this remount. The trio of performers took on a number of roles: at times they were a mobile part of the set, at other times they kinetically embodied the emotions of the vocalist on stage.   -December 19, 2015 by Merli V. Guerra

Junichi Fukuda’s inventive and evocative choreography efficiently used his three dancers almost as a combination Greek chorus and set pieces; depending on the scene, they might embody machinery or act as silent commentators. In some cases they did both—immediately following Mark’s opening monologue, the dancers mimed actions that recalled the operations of typical workers but also the actions of the machines. This tableau was particularly clever in setting the physical scene as well as blurring the lines between human and machine, and in foreshadowing the interactions between the principals.   -September 14, 2015 by Kate Stringer

...the evening’s chief pleasure...Fukuda knew exactly what he was doing here: creating a work of easeful harmony...bringing to mind freedom and flight…in this altogether pleasing work. The real credit was due to Fukuda’s modest, tasteful proposal.   -March 8, 2014 by  Sarah Kaufman

...Junichi Fukuda’s “Eclosion,” were finely danced...   -January 27, 2013 by  Sarah Halzack

His performance quality, distinct compositional structure, and a delicate balance between athletic, frenzied movements and intimate floor work collaborated for an exceptional solo.   -January 28, 2013 by Rick Westerkamp

Fukuda’s use of repetition and the perimeter of the stage space were hypnotizing, as he jogged his memory and certain moments stuck out more than others for him before our eyes. The juxtaposition of his athletic movement phrases with his hands in his pockets and an inward focus was beautiful. His movement walked the line between frenetic and minimal, and perfectly mirrored the music.   -February 25, 2013 by Rick Westerkamp

...Junichi Fukuda’s “Trip Track Trapped” that somehow combined skateboards, mime, Edith Piaf songs, and large plastic toy guns into a lively piece that could have been very serious if it was not so childlike and charming.  Plus Tiffanie Carson got a great audience response whenever she entered with her bicycle, ringing the little bell when she exited.   -September 12, 2013 by David Cannon

Boston Dance Alliance
Fidelity Charitable Foundation
Somerville Arts Council
the Dance Complex
New England Foundation for the Arts
Boston Cultural Council