"Sandler establishes the polished and provocative look of the show with the opening "All That Jazz." With her bobbed hair and wry humor, Sandler also captures well Velma's more worldly and cynical side, as a modern woman of the 1920s. Her rendition of "I Can't Do It Alone" is a knockout."
Read Kristen's article in the Observer-Tribune
She] performed with a touch of playfulness that gave the number its electricity and elegance – with hints of the period that didn’t overwhelm.
- Sarah Tuft on Someone to Belong To, Fringe NYC
You’ll remember the impeccable dancing, which includes several tap numbers that border on dizzying in their complexity. You’ll remember the colors and the characters. You’ll remember the joy with which this production leaves you, for it’s impossible not to crack a smile amid all the physical comedy and genuinely funny one-liners.
-Rebecca Iannucci on Crazy For You, Pendulum
This sense of partnership with creative, individual flair was prevalent throughout the show – at times, the dancers moved in unison, but each let their individual style shine through. The show also played with dynamic lighting, sound effects and props to create a piece that was not only thought-provoking and interesting, but also a successful showcase of the dancers in one of their last performances as undergraduates.
- Casey Brown on Sonder, Pendulum
Not much these days can trance me out and take away my pain. They sure did. I was enthralled with their focus and commitment to each other as artists and the humans and machines in the piece. Everyone was so specific and I was especially pleased to see and feel the commitment of the "watcher's" over on the sides who connected to those dancing and added to this piece. No one moved without compulsion! The "asymmetrical symmetry", as it were, of the choreography was absolutely stunning. I constantly could tell myself a story. Congratulations... I stood at the end and for good reason.”
- Richard Gang on Sonder, Elon Professor of Acting
Read Kristen's article on E-Net
Read Kristen's Interview in the Daily Record
“As We Were” dealt with the razor-like sensation of lovers with both longing and eternal division between them. Revolving around a long bench under the sound of a restrained piano, Kristen Brooks Sandler and William Commander brought convincing emotion into the choreography of Sara Ruth Tourek. Unlike the opening piece of the two Fishers, this second dark duo was far more rough and hence to many of us, more realistic. The two captivated the audience with an elegance that with little change could be cast as Contemporary Ballet as much as Modern Dance.
Commander forcefully took the lead in moving Sandler, who constantly was able to emanate the precise emotion of neither rewarding him nor rebuffing, often the conflicted emotion in any given stage of an intense romance. Eyes for his part never left his partner’s body, despite her ever keeping her face in an inward-looking grimace, even when sometimes tender to him as she lay her head on his lap while the piano suddenly became more plaintive. After the curtain fell, sniffles and whimpers dotted the audience, clearly touched by the emotion of a true yet failed love, perhaps the most real sort."
- John Friedrichon on As We Were, Avant Greensboro