“Charles Moulton’s “48 Person Precision Ball Passing” opened Sunday’s program with a bang, and summed up the joys of collective endeavor and the wonder of simple gesture organized into art.”
Roslyn Sulcas, The New York Times

“….a dexterity and timing that makes not just fascinating 2-D patterns, but delicious comedy. The variety of dance’s vital energies knows no bounds.”
Jenny Gilbert, The Independent, London

“….the best ever, a wittily co-ordinated human piston machine.”
Jann Parry, The Observer, London

“….nothing prepares you for the fun the split-second timeing and it’s wickedly complex maneouvers.”
Judith Mackrell, The Guardian, London

“Clever witty and totally original, Moulton’s computerized configurations topped off the evening in dazzling triumph.”
Phyllis Goldman, Backstage

“Charles Moulton's "Precision Ball Passing" fuses the energy and communal feeling of team sports with the formal elegance of dance, music, and even the visual arts, resulting in performances that connect with audiences and transport and delight viewers of all ages. It's the most fun you can have in a theater seat!”
Elizabeth Zimmer, The Village Voice

“In Moulton’s Precision Ball Passing repetition becomes an irresistible, almost manic obsession…….It has the dizzy, exhilarating charm of 100 chorines doing unison high kicks; of cheerleaders, parade drill or cartoons made up of computer graphics.”
Allen Robertson, The Soho News

“I found this incarnation of Moulton’s inspired ongoing enterprise……Eighteen Person Precision Ball Passing, to be a work of spiritual beauty and considerable refreshment.”
Nancy Vreeland Dalva, Dance Magazine

“This is the kind of fascinatingly obsessive and gratuitous task that takes on a soothing, introspective quality when you watch it done with such concentration. A deep humor also emerges from the intimacy of three people essaying a maddening task that absorbs the audience and involves them in complicity…..It’s like weaving an intricate braid of arms through time or the ingenious designs of Celtic interlacing.”
Burt Supree, The Village Voice