In Rachel Thorne Germond’s choreography “the body speaks of itself as a political battleground. In these highly ironic works, questions of freedom, control, sexuality, and identity are played out... Sometimes indulging in arresting non sequiturs, her work has a madness about it that is probably just right for our times.
— Deidre Kelly, The Globe and Mail

and brought down the house. The piece reveals Marilyn Monroe as both icon and human being ...a poignant reminder that we all have a bit of Marilyn in us."
- Kathleen Duffy, Chicago, IL


"Germond's Rejoinder sings a sweet tune of separation, sex and innocent love as she and Kristina Fluty caressingly plunge and aggressively soar throughout the space in crisp, clean movements that abound with energy and grace. A cameo performance by Andrew Janetti as a "sawman" contributes literal meaning to the dance; he saws a block of wood to represent a severed relationship. It is a refreshing display of emotional transparency."
- Jessica Weiss, The Brooklyn Rail

An emerging choreographer "definitely worth a look"

- Gia Kourlas, Time Out/New York Magazine

It’s about transformation. I get to explore moving in ways I would never move, to see what it means to move like a guy, or, in the case of Marilyn Monroe, like an extreme female.
— Rachel Thorne Germond (interview with Thomas Connors, Time Out Chicago)

- Asimina Chremos, Time Out Chicago

She evaluates her own choreographic voice in terms of an ‘element of tension and release’ that animates her performances. The goal is not just ‘beautiful movement’, but the tangible and powerful presentation of a message.
— Jenaeth Higgins, Citylink
Press Quotes from RTG