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New York Times, December 16, 2006
"It's hard to know what to say...other than it was one of the most enjoyable, language-defying performances I've seen in a long time."
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New York Times, October 28, 2005
"Somehow it is heartbreaking, utterly frivolous and very funny..."
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The Dance Insider.com, October 2005
"The details of his slapdash aesthetic and visual foolery beguile. At the same time, he chews the scenery with an abandon that creates underlying anxiety... These are shamanic rites using structure and necessity as girders within apparent anarchy."
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The Village Voice, November 9, 2005
"Terrible and entrancing!"
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Minneapolis Observer, May 2004
..Scott Heron is a boldly "impure" movement artist, a
genre- and gender-bender...
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The New York Times, April 17, 2001
Exploding across the tiny Dixon Place stage in its most relentlessly
manic and twee moments, “Tender” felt like being trapped
in a broom closet with Jerry Lewis for the whole telethon. But just
as one was about to give up, Mr. Heron would grab some prop and
become a brilliant and surprisingly lovable performance artist...
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The Dance Insider.com, April 25, 2001
...This Queer vaudeville ludic Dada is the kind of adrenaline melee
that made the East Village famous, before it became a frat house
strip mall...
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The Village Voice, April 25, 2001
He enters as a cranky old man pushing a table, then turns into a
jerky hoofer who is also a hilariously incompetent magician. A trick
knife, a fake mustache, surprising costume changes, a lip-synching
dinosaur puppet, and taped counsel on fisting are some of the evening’s
features...
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Paper Magazine, April 2001
His dances are amalgams of skill and absurdity, overlaid with a
rich sense of humor. First you admire his technique, then he makes
you laugh...
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Time Out New York, March 30, 2000
Scott Heron sees the world through a special set of eyes. Or perhaps
he’s just invented a universe of his own liking. His beautiful
dace-theater works, with their extravagant costumes and sets, create
a dreamy, surreal paradise or a frightening hell, depending on your
point of view...
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The Village Voice, April 18, 2000
...the movement is minimal. He extends his arms without seeming
to reach, as if he were sensing what’s happening inside them.
When he’s gone, you feel maybe the journey has worked a miracle...
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Dance Online, January, 2000
Anarchic is putting it mildly. The piece is not without occasional
slow moments, but it is generally delightful and even exciting.
I wouldn't miss his next one if I were you...
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The Village Voice, February 4, 1997
I like speculating on him as a wacky/serious Martha Graham sort
of fellow. .. The work is extremely fastidious--everything precise
within its overall slipperiness.
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The Village Voice, October 19, 1993
In a more benign and probably boring world, Scott Heron might be
a standard Ballet Boy. With his lean and linear physique, sharply
detailed face, and willfully neat feet, the dark-haired performer
cuts a figure both aristocratic and disciplined. But Heron keeps
careful pace with the sometimes gross imperfections of his world,
presenting an elegantly rendered suite of indelicate points...
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The New York Times, March 9, 1992
...Mr. Heron first appeared as a solemn high priest of sorts, moving
gingerly onto the stage in a towering headdress of plastic-bagged
balloons. By the end he was distinctly human...
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The New York Native, October 6, 1992
The journey taken by this show was easily dominated by Heron’s
presence and magically mysteriously decorated by his wonderfully
nonsensical use of props...
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