“an associative, sometimes absurdist choreographer”
-- The New Yorker
”Julie is a master of timing.” (spoken, The Edge is a Field workshop)
— Deborah Hay, choreographer & writer
"I’ve followed Julie’s work for over a decade now, admiring her singular voice and approach to dance making."
-- Neil Greenberg, choreographer
"In Novatia Tryer, Mayo's signature neurotic gestalt bleeds out from the individual performers into the work's overall structure. Intricate movement phrases layer in the service of large-scale circulatory forces. The whole space is slippery and shifting. Your attention ricochets between actions and finds sinkholes in individual oddities. It is complex and understated, not to mention hilarious —Novatia Tryer is a piece you want to see again."
-- Ursula Eagly, choreographer & writer
"There’s a sense of inevitability, like everything that happens is the only thing that could possibly happen"
"I read a myriad references into the work: everything from Beckett's What Where to a widely unnoticed millennial film about a teen-aged dancer."
"Interruptions and returns to former identities, multiplications of intentions and depictions of social entanglements, in an almost Brechtian manner, expose cracks on the seemingly smooth surfaces of human exteriors."
"A dance by Mayo is rarely laugh-out-loud funny, but you might giggle when its operatic excesses peak."
"[In 2009}, Julie Mayo showed us Feed the Guest, Fever Drift, and whoaa man, and we loved them all."
-- Time Out Chicago
"You know good poetry? It’s like that."
Dance, Interrupted: An Interview with Julie Mayo in Time Out Chicago
"[Mayo] expertly sustained an atmosphere of creative mystery; each transition seemed the result of a patient brainstorm on unpredictability."