“These remarkable performers [including Jesse Obremski at Fall For Dance 2024] were featured individually, but also danced with perfect precision as a troupe exhibiting outstanding grace and athleticism.”
- Marina Kennedy, Broadway World
“The Gibney dancers [including Jesse Obremski] are daring and curious, bringing bold sensibilities to the movement and delivering precise abandonment at every opportunity.”
- Nadia Vostrikov, The Ballet Herald
“Whether in the studio or on stage, the thirteen Gibney artistic associates [including Jesse Obremski] are an immensely capable and technically versatile group of dancers, who bring spirited energy and emotional intelligence to their work.”
- Karen Greenspan, Fjord Magazine
“We are thrilled to present this year’s exceptional roster of inimitable local and international dancemakers [including choreographer Jesse Obremski] at the 9th annual Fall for Dance North festival... This year’s programme represents a cultivated blend of emerging and established creators – many of whom will be making their Toronto debuts – whose authentic voices help expand our worldview towards a more inclusive and equitable future full of love, beauty, and resilience.”
“[Jesse Obremski is one of] today’s most promising international contemporary voices… [through] the brave steps they are taking in the dance world.”
“The Gibney dancers with their technical skill and open and robust spirit brought [Ohad Naharin’s work] “Yag” to life in their own way.”
- Karen Greenspan, Fjord Magazine
"Tall and he [Jesse Obremski] refreshingly danced like the wind!”
“The expressive power of the dancers’ bodies was also wonderful [in Rena Butler’s work Lusus Naturae]
“It [Alan Lucien’s The Game is Rigged] was very sharp and there were many repeat movements, and the dancers were in the body so that the words and the swings became one.
- Mami Tomotani, Chacott
“… it’s (Gibney Company’s) strong and versatile dancers, artists who appear to be physically capable of anything… Jesse Obremski, in an early solo [of Rena Butler’s creation], is especially uncanny in his puppetlike physicality, an eerie hallowness possessing his eyes and limbs.”
- Siobhan Burke, The New York Times
“From the first moments of the Gibney Company’s “Up Close” Program, at New York Live Arts, the troupe’s superpower is clear: its strong versatile dancers, artists who appear to be physically capable of anything.”
- Siobhan Burke, The New York Times
“As Alexander Anderson, Jesse Obremski and Jake Tribus morphed and melted from sculptural lifts into deep, swaying squats, they also crumbled and rose to climb over one another as Earthgang’s ‘Missed Calls’ played. (Darryl J. Hoffman did the sound design.) Eventually, pulling apart, they moved in sync finding a groove — and exuding an underlying vulnerability — as the lyrics rolled by: ‘And I suggest you trace your scars if you get lost, my dears.’”
- Gia Kourlas, The New York Times
“Gibney Company social justice dancers make their season debut”
- Edric Robinson, NY1
“With a focus on dance theater, the company [Gibney Company] is comprised of 12 idiosyncratic dancers”
- dredima, Interludes
“Three choreographers built pieces on a texturally impressive company of dancers… Pedestrian movements [in Alan Lucien Oyen’s work The Game Is Rigged] stretched through modern dance forms revealing dancers equally capable of speaking and moving… Stylized acrobatics resounded in, Lusus Naturae by Rena Butler. Three male dancers [Alexander Anderson, Jesse Obremski, and Jake Tribus] hunkered over each other imitating primate-like movements teased through hip hop lopes only to straighten into upright gladiators and then plunk back down to earth.”
- Celia Ipiotis, Eye on the Arts
“They [Gibney Company Artistic Associates] also each take on a Moving Toward Justice Fellowship, leveraging the Gibney organization’s resources to respond to the needs of the dance field. Two that currently stand out to Gibney are Jesse Obremski’s Our Paths, a multimedia online platform that cultivates leadership through empathy, and Leal Zielinska’s Okay, Let’s Unpack This, which provides free therapy and other mental resources for dancers.”
- Chava Pearl Lansky, Dance Magazine
“Their (DUMBO Dance Festival 2021) opening remarks will be interspersing throughout the show by six sensational contemporary dance troupes: Jennifer Muller|The Works; Obremski/Works; three of the most eclectic companies from South Korea: DAEGU CITY DANCE COMPANY, collective A|Jinyeob Cha & Theatre Mucheon|Ara Kim; and your host WHITE WAVE Young Soon Kim Dance Company.”
Young Soon Kim, Founder and Artistic Director of the DUMBO Dance Festival and WHITE WAVE
“…they (five seniors of The University of Hartford's Hartt School Dance Division) will also perform commissioned solos created by five highly recognized choreographers: Alexa Capareda, Stephanie Dorrycott, Joseph Jefferies, Jesse Obremski, and Andrea Miller.”
“Throughout the piece, highly trained dancers (Mark Willis, Savannah Spratt, and Jesse Obremski) commit themselves to choreography (José Limón’s Chaconne) inspired by human experience.”
- Mary Paula Hunter, The Art Fuse
“Thank you so much for the amazing Limon class! I have a ballet background (elementary/intermediate) and have been trying to understand/feel contemporary dance techniques other than those similar to ballet for a long time! This is the first time it made sense to me.”
- Cathrine Katsigianni, Cyprus Educational Mission Faculty
“When I was taking Jesse’s class, his emphasis on historical connections and language was really rich.”
- Margaret Wilson, University of Wyoming Theatre & Dance Professor and Department Head
“ [I] Have truly appreciated your weekly classes [on] @limondance [The Limón Dance Foundation’s Instagram). Your movement quality is pure, passionate, and beautifully sensitive. You are as well a deeply gifted dance educator. Your ability to articulate, define, translate, and offer such understandable images is filled with wisdom and true caregiving. You are indeed an artist. An artist gives life, beauty, affirmation and inspiration to others. You have been endowed and blessed with such a sacred calling. Thank you.”
- Randall Flinn, Artistic Director of Ad Deum Dance Company
“Keely Song Glenn, director of CDT and producer of “Vanish”, described the video as ‘a tribute to the vitality of human connection and a hope for the day when we can one day physically connect to each other again.’”
- Keely Song Glenn, Director of BYU Contemporary Dance Theatre within Anelise Leishman’s ‘To See and Be Seen” BYU Dance Article
“‘It’s all about the humanity’, is what Jesse Obremski would often remind us throughout the entire process [of Vanish] working with him. It was such a wonderful experience working with Jesse Obremski, as he is a talented choreographer and such a generous human being. It felt like a journey.”
- Bronte Hopkins, Brigham Young University Contemporary Dance Theater Company Member
“The creative process [of Vanish] with Jesse Obremski was a memorable and unique experience. I’ve never worked with someone who puts so much heart into their work and also creates a space of individual self-discovery for his dancers. He made it very clear that each gesture, each interaction, and each moment had meaning that added to the overall piece… This was a perfect finale to my college dance career… The range of human emotion that I felt in that 11 minute piece was an experience I never want to forget.”
“Thank you Jesse for reminding me that dance is only an extension and expression of something much bigger than ourselves… Thank you for letting me be a small piece of something so transformative.”
- Vanessa Redden, Brigham Young University Contemporary Dance Theater Company Member
“I was humbled and inspired after working with Jesse. Seeing and experiencing the collaborative process between his vision and us dancers was a real treat. The movement in Vanish explored the intricate experiences of connection among people; loneliness, a warm embrace, peaceful solace, seeking others, and community. I loved the opportunity to experience this dance anew in each rehearsal and performance: this piece, to me, is a living and breathing piece of art.”
- Taft M Robinson, Brigham Young University Contemporary Dance Theater Company Member
"Jesse Obremski structured his process [for Vanish] in a way that let all of the dancer's’ voices be heard. He empowered each of us through creating an environment where we could contribute our authentic selves. I felt a part of something bigger than myself because of Jesse’s focus on connection and humanity. Thank you for guiding this experience and creating such a special work!”
- Joey Anderson, Brigham Young University Contemporary Dance Theater Company Member
"The work (Jesse Obremski’s Vanish) will leave the audience humbled for having been on this journey.”
“The dance is about the space between, how close and far and what that does to us."
- Pat Debenham, Former Brigham Young University Dance Faculty
“At six feet tall, Jesse Obremski dances as though he’s investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it’s clear why he’s an invaluable asset to New York City choreographers.”
- Jen Peters, Dance Magazine
“He [Jesse Obremski] has the ability to turn mundane moments into something spectacular.”
- Nigel Campbell, a Gibney Company Director and a MOVE|NYC| Artistic Director, Dance Magazine
“… Jesse Obremski, choreographing on Brigham Young University’s dancers, offers some of the more exciting movement of the night, brilliantly executed by five tenured students (in Obremski’s work Opportunity) whose careers certainly look promising.”
- Elizabeth Shew, The Dance Enthusiast Audience Review
“The current dancers of the company are adept at the emotional expressivity of Limón dancers, which was the performing mode of the era when they were created and that his pieces require.”
“Tall, muscularly powerful Jesse Obremski dances the role of The Friends…”
- Gus Solomon, Gus Solomon Tumblr
“Lean and powerful, it [José Limón’s The Moor’s Pavane] stands the test of time. The current dancers (The Moor: Mark Willis; His Friend: Jesse Obremski; His Friend’s Wife: Jacqueline Bulnes; The Moor’s Wife: Savannah Spratt) perform it beautifully, with strength and dramatic clarity.”
“The current [Limón Dance] company is made up of excellent dancers, although it might be suggested that the women outshine the men when it comes to stage presence, generally speaking (with exceptions, of course, like Jesse Obremski).”
- Sheila Kogan, TheaterScene
“As ‘His Friend’ [Iago], Jesse Obremski [in José Limón’s The Moor’s Pavane] was a calculating serpent…You can see the green-eyed monster [Iago] as it transforms from an implanted idea to the perdition that catches Othello’s soul and the chaos that overwhelms him.”
- Jerry Hochman, Critical Dance
“The story [of José Limón’s The Moor’s Pavane] was designed so expertly by Limón and is enacted with such nuance and intensity by this stellar quartet [Jacqueline Bulnés, Jesse Obremski, Savannah Spratt, Mark Willis], we are immediately drawn in… Through movement, both athletic and gestural, as well as well-placed stillness, we discover that [Jesse] Obremski is not a friend at all, rather a scheming, jealous snake with elegant clothes and superficial mannerisms [as his character Iago].”
- Christine Jowers, The Dance Enthusiast
“ This evening it [‘José Limón's best-known work, The Moor's Pavane’] was splendidly danced by Mark Willis (The Moor), Savannah Spratt (His Wife), Jesse Obremski (His Friend), and Jacqueline Bulnés (The Friend's Wife), their dancing alive with nuance and musicality.”
- Obreon, Obreon’s Grove
“Jesse Obremski’s ‘Courage’ [a creation commissioned by The University of Wyoming] is a rich piece up for interpretation by the audience… I can see the resilience of the human spirit when we’re being challenged when we’re being bullied and how we help each other and don’t help each other.”
- Shelbey Prusia, Branding Iron
“Choreographer Jesse Obremski [of The Church of Transfiguration’s production of Amahl and The Night Visitors] was extravagant in his movements for the dancers in a grand eye catching, foot stomping and real “hand clapping” (with the audience joining in) manner with impressive leaps and twirls."
- Nino Pantano, The Brooklyn Discovery
“Showcasing the fluid and sensitive movers of Gibney Dance Company, against dreamy soundscapes, two new works [in the program ‘HOME’] blurred time and space to investigate the histories and emotions attached to the physical places and objects of “home”. The dancers [in Adam Barruch’s Imprint Ghosts] track intricate, precise lines, as if retracing the outlines of lost structures. Their limbs swirl with an ethereal lightness and fluidity, coalescing in frozen images just long enough to imprint a memory. As the performers loop through rearrangements of the movement, the airy quality thickens.”
- Nadia Khayrallah, The Dance Enthusiast
“The period costuming was exquisite, and the four performers [Logan Frances Kruger, Brenna Monroe-Cook, Jesse Obremski, and Mark Willis in José Limón’s The Moor’s Pavane] were outstanding in their theatrical telling through dance of the timeless sins of racism, domestic violence, and jealousy.”
“The true athleticism of these talented performers could be seen in some role-reversals of traditional partnering [in Kate Weare’s Night Light]. Of note was Jesse Obremski’s aerial lifts of both female and male partners."
- Josephine Sarnelli, In The Spotlight
“ …the pensive, elongated (Mark) Willis eventually hands it off to the precise, bright-eyed Savannah Spratt and she hands it off to the magnanimous, sweeping Jesse Obremski [in José Limón’s Chaconne]. [In José Limón’s The Moor’s Pavane] …the four — [Mark] Willis as "The Moor" (Othello); Brenna Monroe-Cook as his "Wife" (Desdemona); [Jesse] Obremski as "His Friend" (Iago) and Logan Frances Kruger as his friend's "Wife" (Emilia) — are in tune. Each convey their characters' thoughts and emotions with theatrical clarity but without slipping into theatrical affectation.”
- Janine Parker, The Berkshire Eagle
“We are riveted by how every gesture so succinctly conveys the essence of the tale [in José Limón’s The Moor’s Pavane]. Attired in yellow, consumed by jealous rage, Iago (Jesse Obremski) manipulates and poisons Othello (Mark Willis)… As his tormentor Obremski’s Iago, is more slender, slithering, agile, clinging and manipulative.”
- Charles Giuliano, Berkshire Fine Arts
“Most avant garde of the evening was duet No Room For Wandering [choreographed by Yin Yue], featuring Tanner Myles and Jesse Oremski, both athletic but fluid in movement. These dancers were complimentary to each other and really shifted the mood of the evening in a powerful way.”
- Demetrius Shields, Dance Informa
"Another standout was Jesse Obremski: windblown in the air, then tumbling and delicately suspended in Tecumsah’s solo [in José Limón's The Unsung]. Stealthy or wild, attacking, grieving, and fleeing in distraction, these dancers [The men of The Limón Dance Company] brought Limón’s glorious manscape to life."
- Robert Johnson, The Dance Enthusiast
"The seven men are all strong performers [in José Limón's The Unsung]. I find it hard to tear my eyes from Jesse Obremski, one of the troupe’s youngest members, whose strength, clarity, and focus radiate from a secure central place."
- Elizabeth Zimmer, The Village Voice
"[Jesse Obremski's] solo in [José Limón's] The Unsung on Sunday [May 13th, 2018] was beautifully wrought - measured and dynamic... [His] artistic growth evident."
- Jaclynn Villamil, Teacher/Choreographer/Performance Consultant
"[Jesse Obremski's] litheness and masterful grace just stood out".
- Cal Skaggs, Lumiere Productions, Inc
"[Jesse Obremski's] dancing [in José Limón's The Unsung] was lyrical, dynamic, and engaging. [José] Limón would be proud."
- Barrett Hong, Audience Member in New York City
"What people may not grasp when watching the performance [of José Limón's The Moor's Pavane] , is that the dancers [Logan Frances Kruger, Brenna Monroe-Cook, Jesse Obremski, and Mark Willis] doubled as actors, by telling 'dance narratives.' These dancers focused on showing the characters’ relationship with each other."
- Ty'Shae Cousar, The Carolinian
"[Jesse Obremski's work] Their Voices was a poignant tribute to human suffering and all of life’s 'hurricanes'. I thought the musical accompaniment [of a new score by Robert Ouyang Rusli] was a perfect mirror of the growing vortex of human suffering. [Obremski asks] the audience to imagine their worst fears and then---signals a way out: Community. This piece is 'prophetic' in the best tradition of prophetic art, i.e., mirroring the realities of the human condition and pointing to solutions premised on human love."
- Dr. Philip B. Spivey, Audience Member in New York City, New York
"I would describe [Jesse Obremski's] style as ‘lyric precision’ --- in all of its elements... [His] body appears to be one unified instrument: Lyric, because [he takes] every opportunity to sing [his] phrases; precise, because every word of [his] song is superbly articulated and enunciated. It’s really quite wonderful to see."
- Dr. Philip B. Spivey, Audience Member in New York City, New York
"Jesse Obremski was the choreographer [of the Church of Transfiguration's production of Amahl and the Night Visitors] who made the audience aware of the high quality peasant dancing... The dancers, Ambar and Charles Rosario, Savannah Spratt and Mark Willis were graceful and lively, giving us many memorable moments and regaling us with their grace and stylish movements."
- Nino Pantano, Brooklyn Discovery
"Colin Connor [Artistic Director of The Limón Dance Company] prefaced the premiere [of No Room For Wandering] with a statement on the Chinese American choreographer's [Yin Yue's] love for effort. And their effort was evident. [Tanner Myles] Huseman and [Jesse] Obremski "fought for every inch," as they danced with enough vigor and focus to lead an army to grueling victory... With each emerge, they propelled themselves into the space and into each other. Their movements fit together seamlessly in a sweeping compliment."
- Kristen Hedberg, Tillt Magazine
"[About José Limón's Concerto Grosso] Danced beautifully by Kathryn Alter, Elise Drew Leon and Jesse Obremski, the first half was slow and deliberate with endless suspensions and balances, and then the second half quickened with leaps that covered the stage, showcasing Limón’s signature curves in the back, splayed and punctuated arms, wrist and fingers and the joy in movement."
- Charmaine Patricia Warren, New York Amsterdam News
"When I saw [Jesse Obremski dancing] Chaconne [choreographed in 1949 and performed by José Limón], I was reminded of how much I love dance and I thank Jesse for the wonderful gift of himself."
- Evaristo Bulnes, Audience Member in Miami, Florida
"He reminds me of Angel Corella [Former Principle Dancer with the American Ballet Theatre], there were moments when he was stunning because I could not see the preparation and of course that takes your breath away."
- Gail Taft, Audience Member in Miami, Florida
"This [José Limón's The Moor's Pavane] is what I came to see! Iago danced by Jesse Obremski is dancing as if his life depended on it, he is inspired. With every movement he projects the darkside of the force. Mr. Obremski has found the choreographic bread crumb trail and is following its to its redrum [Stephen King] conclusion. Kathryn Alter’s [Emilia]... duet with Mr. Obremski beautifully sets up the tender Romeo and Juliet inspired pas de deux between The Moor [Bradley Beakes] and Desdemona [Elise Drew Lion]"
- Phillip McAbee, Medium/Adult Ballet LA
"At the Joyce performance that I saw [in May 2017], Kathryn Alter, Elise Drew Leon, and Jesse Obremski performed with precision and spirit a production of [José Limón's] Concerto Grosso staged and directed by Risa Steinberg."
- Deborah Jowitt, Arts Journal/DanceBeat
"... Kathryn Alter, Elise Drew, and Jesse Obremski articulate the wide, open shapes, sweeping turns around a. bent leg, and sharp arm accents [of José Limón's Concerto Grosso] with grace and confidence... Tall Obremski’s dark slacks and blue dress shirt look pedestrian; he deserves something softer, more flowing to emphasize the lyricism of his dancing."
- Gus Solomon, Solomon Says
"Dancers Kathryn Alter, Elise Drew Leon and Jesse Obremski performed [José Limón's Concerto Grosso] with great musicality, clarity and ease. CONCERTO GROSSO is a jewel and these three dance artists are wonderful in it."
- Jeff Slayton, SeeDance News
"They [The Limón Dance Company] opened with Limon's "Concerto Grosso,"... for three dancers: Kathryn Alter, Elise Drew Leon and Jesse Obremski, whose dancing epitomized simplicity, elegance and lyricism. The three exuded a joy that made you want to get onstage and breathe the same air; their adagio was a miracle of control, stopping time; in the finale, the release of pent-up energy could be felt viscerally."
- Susan L. Pena, Reading Eagle
"Jesse Obremski is the kind of dancer whose movement style mirrors his personality. His movements are very calm and fluid, yet there's something very grounded about them at the same time. There's nothing extra about any of his movement. It's very straight to the point. That also pertains to his choreographic style and his performance style."
- Saya Hishikawa, Interview En L'air
"[Jesse Obremski]... the gentlest and kindest of souls. Talent abundant. He was also cast as 'He Who Summons' in [Martha] Graham's Dark Meadow and brought utter elegance and power to the role. Hungry and so appreciative of the gifts he receives, he gives back ten-fold through the dedicated artistry of his work. Within him there is the future as we would like it to be... loving, tolerant, compassionate, creative, giving.
- Terese Capucilli, Former Principle Dancer and Artistic Director of The Martha Graham Dance Company
"The lead couple, Jesse Obremski and Cleo Person, danced it [Paul Taylor's Roses] with fluent simplicity, and a sense of quiet understanding."
- Marina Harss, DanceTabs