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BEAUTIFUL – THE CAROLE KING MUSICAL  (Astaire Award Nomination)

“Josh Prince’s choreography brings to life the dance styles of the ’60s hit parade with marvelous felicity. Again and again, we see the once-standard format of a solo singer and a backup threesome. There are wonderful details: the cross-stitch of brisk footwork, the precise insouciance with which dancers cross one leg across the ankle of the other, the tilt of pelvis or shoulders or an entire torso. It’s gorgeous to watch the wavelike ripples of movement that pass up, down and across the singers’ bodies — and occasionally, when the three backups, in unison, take several seconds to let an arm movement unscroll luxuriously toward the audience, it’s ravishing […] the individual movements that have been haunting me most happily are the ’60s details in “Beautiful,” even though nobody is talking about its dances.”
• Alastaire Macaulay, New York Times, April 2014

“Josh Prince did the fun choreography, seen at its best when “The Locomotion” becomes a hit for Carole and Gerry’s babysitter, Little Eva.”
• The Hollywood Reporter, January 2014

“For “Some Kind of Wonderful,” King and Goffin first play it on a piano, which then sweeps away to reveal four actors playing The Drifters in all their glory. These are the moments when director Marc Bruni and choreographer Josh Prince are at their best.”
• AP, Jan 2014

“With Marc Bruni’s crisp direction and Josh Prince’s precision choreography, the hits segue seamlessly on Derek McLane’s industrial grid set — from drab office to glittery concert stage — with the efficiency of a snappy line (libretto by Douglas McGrath) as we encounter live replicas of The Drifters, Shirelles, Righteous Brothers and Little Eva.”
• Newsday, Jan 2014

SHREK, THE MUSICAL (Outer Critics Circle Nomination)

“Josh Prince’s choreography is a hoot, from the chorus line of rats  (“Morning Person”) to the march of the misfits (“Freak Flag.”) And when everybody rocks out to “I’m A Believer,” the sense of joy is so palpable you almost forgive those chintzy special effects.”
• Chicago Theater Beat, July 2010

“Under the astute guidance of choreographer Josh Prince and music director Andy Grobengieser, the seasoned cast, on this last leg of the first national tour, projects a sparkling sense of fun that spills over the proscenium.”
• LA Times, July 2011

BBC PROMS, Royal Albert Hall

“Anna-Jane Casey had enough time for a quick change of costume before returning with fourteen tap dancers, for a stylish, Josh Prince choreographed performance of ‘Tap your troubles away’ from Jerry Herman’s Mack and Mabel. Casey, a seasoned Mabel, gave an energetic, no-holds-barred rendition that raised the roof and brought the Prom to a tumultuous conclusion.”
• Classical Source.com, August 2012

MY FAIR LADY, Royal Albert Hall

“Director Shaun Kerrison and choreographer Josh Prince summoned a bustling Covent Garden market, an embassy ballroom and Ascot racecourse with the slickness of a long-running show.”
• TheArtsDesk.com, July 2012
FIRE ISLAND DANCE FESTIVAL

“Josh Prince’s crowd-pleasing ‘In Defense,’ which through simple yet evocative gesture celebrated the repeal of the military’s ‘Don’t Ask, Don’t Tell’ policy.”
• Dance Magazine

THE KID, The New Group

“Choreographer Josh Prince offers […] a charming duet and an artful ensemble number back to back.”
• Variety, May 2010

THE BROADWAY MUSICALS OF 1959, Town Hall

“Josh Prince invested boyish charm and heightened song-and-dance savvy in “All I Need is the Girl,” which turned out to be the evening’s most spirited moment.”
• Variety, May 2007

BUNTY BERMAN PRESENTS, The New Group

“TNG’s founding artistic director Scott Elliott stages over-the-top action that segues seamlessly into sprightly, inventive dance sequences choreographed by Josh Prince, with a variety of diverse, clever songs moving the story along.”
• AP, May 2013