"Where the choreography shines is in unexpected details: a recurring motif of an arm folded across a stomach; catches that slide down legs; a long spin injected with a carefully choreographed wobble; a dancer slowly inching her way along the back wall while her fellow dancers jump, catch and cartwheel in front of her...dense with movement that utilizes every corner of the stage, including its edge. The dancers are up close and personal in a section that finds them jumping maniacally, hands twined between their legs, inches away from their audience." [Convergence]

The Oregonian, Portland, OR
February, 2008

“Katrina O'Brien's solo Constructing L:ies was a tour de falsity (in the best way)...a discourse on lying containing the key principles: "Know who you're lying to, and know what you're lying about." With copious examples of her own lies (and a nod to a contemporary master), O’Brien incarnates falsity with rolls, contortions, ducking, evasions -- she slides beneath the platform, emerges. It's endless, desperately complex behavior -- she uses her arm to frame a line, slaps it down again and again, a visual restatement, qualification. Her tone is blase, conversational, but the choreography disturbs the pit of the stomach.”

Seattlest.com, Seattle, WA
June, 2006

“The sculptures, whether pieces of a room or simply changing surfaces, brought a whole other dimension of possibility to an already stretching of the imagination. O’Brien wraps you into a world of moving walls, doors in the floor, and shifting ledges that are not only normal but a necessity… These women heaved, swung, and lunged themselves with the grace of birds and the athleticism of Olympians… simply mesmerizing.” [Entangled Swell]

Holyoke Sun, Holyoke, MA
November, 2004

“A memorable moment was Katrina O’Brien’s Exchange of Volume. With precision and unfaltering commitment, O’Brien moved through the space bringing together form and creativity in a vocabulary of movement spanning confrontational to intimate.”

Art Noise, Boston, MA
January, 2003

“…I came across a farmhouse left to its own defenses…Emerging from every visible orifice of the house, three dancers emerged finding almost un-human movement that seem to defy gravity…With delightful pleasure and exactness, the dancers find their way among what is now a living structure…O’Brien reminds us that every space, no matter how forgotten, has life.” [Over & Above]

Town Weekly, Southampton, MA
April, 2003

“It seemed as if O’Brien was questioning exactly what space the human form contained, what space two forms could contain together, and so on until the entire company was involved in the four spaces…The organic motion were refreshingly contrasted to the heavily synthetic soundtrack, the segues between segments fluid and refined…At a time when art is becoming more and more interactive, while the general population exhibits more and more apathy, there is a relevance and urgency present In My Space.”

Seven Days, Burlington, VT
January, 2001